Postpunk, which tries to bring us from new perspectives and a whole lot more pop than before, which is wrong with the USA, with us and the whole world. Our record of the month in the printed music express.
Anyone who has seen this band from Washington, DC live and let the sweat of mid-stage singer Katie Alice Greer shake their faces could argue with good arguments that they have seen a punk concert … Yes, maybe he will leave it “Post” just gone. However, anyone who has seriously fallen in love with Priests – that’s what their debut NOTHING FEELS NATURAL from 2017 explicitly seduced us for – loves them not only for their direct energy transfer, but also for their ability to express at least 50 Shades of Gray.
This DIY group, which has been active in the immediate vicinity of the U.S. power center and has been defending its independence, playing solo concerts and continuously expressing itself politically since 2014, could best be cast in a David against Goliath opposition role to Trump. Many music journalists agreed that this birth of the political show hell would bring a new heyday to socially critical punk (rock) even before Trump took office. Because the … well, we are so eager for new waves and majority clarity. (Under this premise, we also sent our DC correspondent Daniel-C. Schmidt to the Priests – if everything went well, there will be something exciting to read about it in the next ME.)
Buy the new Priests album “THE SEDUCTION OF KANSAS” at Amazon.de
Only: Priests are not available for simple denominators and the Goliath number. The fact that there has always been a stink in the United States (and the rest of the world driven by greed) was made clear in the title of their first, overall even bigger 2014 EP: “Bodies And Control And Money And Power”. The last line also demonstrated that even then there was no lack of enemy images: “Barack Obama killed something in me and I’m gonna get him for it.”
THE SEDUCTION OF KANSAS already shows in the title that Priests are now more reflective and differentiated (but no less passionate) in order to articulate their lack of understanding and disagreement. It goes back to a bestselling non-fiction book from 2004, in which it is explored how the labor-driven state in the Midwest could become a nest of biblical ultra-conservatives. The song of the same name describes emotions and atmosphere rather than facts in a powerful, catchy language, in order to make it clear why disadvantaged people who yearn for recognition are so receptive to such felt truths: “All of the sunday dress mothers caress your face and say : ‘It’s you, I’m the one who loves you, it’s true, I’m the one who loves you’ ”. Elsewhere, as in “YouTube Sartre”, it becomes even clearer that Priests do not exclude themselves in their questions and critical observations; As can be seen from the length of the album, it is less a matter of working on political essays, but rather of texting out of personal conflicts and ambiguities. Where you may not get the sometimes somewhat inconclusive lyrics then the longing, narrow-hearted vocals by Katie Greer do it for you.
This voice, GL Jaguar’s exposed guitar and the talent of this band, based on the often clearly apparent models from Postpunk, New Wave and the girl-punk rock bands of the 90s to write very plausible, hook-straight songs, gave the next consistent musical Step ahead: With the help of the busy producer John Congleton (St. Vincent, Blondie, Future Islands etc.), they recorded an album that was decidedly pop, yes new-wavy (the title song would not have been released in 1982!) , is at the same time even more atmospheric and atmospheric than its predecessor.
The five best songs: 1. I’m Clean 2. The Seduction Of Kansas 3. Good Time Charlie 4. Texas Instruments 5. Jesus‘ Son
Sounds like: Siouxsie And The Banshees: KALEIDOSCOPE (1980) / Au Pairs: PLAYING WITH A DIFFERENT SEX (1981) / Wild Flag: WILD FLAG (2011) / FRIGS: BASIC BEHAVIOUR (2018)
Listen to THE SEDUCTION OF KANSAS from Priests in the Spotify stream here:
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It measures approximately 1.80 m and weighs a hundred kilos, travels at 15 km / h on two wheels, can carry loads of up to 13.5 kg with the end of its articulated arm equipped with a suction cup, and even handle boxes up to 1.67 m high and 1.20 m deep. He is Handle, a handling robot imagined by Boston Dynamics which, presented for the first time in 2017, has evolved. The new video showcasing its capabilities is also quite impressive and will not fail to raise the question of saving millions of jobs in the logistics field in the medium term.
If Boston Dynamics launched in 1992 with the support of MIT to develop robotic solutions with the military market in mind, the company today tends to consider other outlets for its creations. His robot dog SpotMini could, for example, be used as a home assistant, even if we imagine him more readily with two turrets mounted on his back when he is seen frolicking (which is not without being particularly frightening). The “athletic” abilities of Atlas, the impressive biped robot also designed by Boston Dynamics, also pushes us to imagine it more carrying military equipment on a battlefield than a few cups of tea on a tray in the middle after -midday.
Only the future will tell us which path will favor SoftBank, the parent company of Boston Dynamics which it bought from Google in 2017. The one taken by Handle seems, in any case, already all mapped out.
ALBUQUERQUE, New Mexico – Mention the border with Mexico these days and images of dystopia could come to mind: agents holding children in cages, airships hunting drones, the corpses of migrants marking the border.
Yet even as US President Donald Trump pushes his call to build a wall along the entire border – implying, once again, that neighbors to the south threaten the richest and most powerful country. from Earth — history offers other perspectives.
[Si quieres recibir los mejores reportajes de The New York Times en Español en tu correo suscríbete aquí a El Times]
Photographer Tomas van Houtryve had in mind the nuanced past of what is now the American West when he set out for the border.
No, not the current border, but the long-forgotten border that existed before the US Intervention in Mexico.
Van Houtryve, 44, wanted to challenge what he calls the “bloated mythology” of the West in which Hollywood nurtured the belief that the expansion of the United States dispersed ideas such as equality, freedom and democracy in the conquered lands.
“Actually, these values came to the West directly from Mexico City,” said Van Houtryve, who grew up in California and now lives in Paris. “The main ideological import of Anglo-Americans to the West back then was really raucous white supremacy.”
Before then-President James K. Polk pushed both nations to war, Mexico was nearly twice as large, and the border was located more than 1,100 kilometers north of where it is now. Mexico prohibited slavery; American slave owners wanted to expand it.
Then came the annexation of Texas in 1845, in which American immigrants in what were then the Mexican states of Coahuila and Texas had staged their slave rebellion. The martyrs of Texas Independence include such men as the slaver James W. Fannin.
Some years later, the United States orchestrated the war with Mexico that led to one of the largest land grabs in American history – the territory that now includes Arizona, California, Colorado, Nevada, New Mexico, Utah, and Wyoming.
Using a map of North America from 1839 (the same year photography is thought to have made its debut in Europe), Van Houtryve traveled along the former northern border of Mexico to meet families who have lived in the region for centuries.
Your team in the age of Instagram? A 19th century camera that he found in an antique shop in Paris. He stocked up on glass photographic plates and penetrating potions that were necessary for the wet collodion process, a technique invented in 1851.
In doing so, Van Houtryve evokes what the West may have looked like in the Mexican era in places like Medicine Bow Peak in Wyoming and the Bonneville Salt Flat in northwestern Utah.
Using 19th century technology requires meticulous planning. Instead of taking hundreds of digital photos in an hour and then sifting through the images, he takes two in the same amount of time with the wooden camera.
“Put your thoughts and intentions at the beginning of the process rather than at the end,” he said.
Some of his images capture the scenes of forgotten atrocities such as the 1847 massacre by US troops of more than 150 Indians and Latinos at the San Gerónimo church in the Pueblo of Taos in New Mexico. His work will be exhibited at the Photography Show presented by Aipad in New York from April 3-7, and a monograph is scheduled to be published by Radius Books later this year.
Van Houtryve also photographed people like Susan Calderon Belman, a descendant of Luis Manuel Quintero, a black man who was one of the pioneers of what is now California.
As Van Houtryve reminds us, most of the original settlers who founded El Pueblo de Nuestra Señora la Reina de los Ángeles in 1781 had varying degrees of African heritage, although public recognition of the city’s Afro-Mexican origins remains low.
Van Houtryve, who previously photographed countries where communism endures in the 21st century, such as Nepal and North Korea, said he embarked on this project after the 2016 election in the United States was marked by a resurgence of intolerance. With his images, he focuses on the historical amnesia that envelops not only the American Intervention, but also much of America’s past, effectively making our new era of intolerance possible.
This practice of remembrance reminds us of Americans whose ancestors never crossed the border into Mexico. The border crossed them.
In Paris for the launch of Azzaro’s Wanted Girl perfume, of which she is a muse, Georgia Fowler talks yoga, perfume and burger for ELLE.fr. Meet.
She is the face of the new Azzaro perfume. Georgia Fowler is the face of Wanted Girl, the female version of Wanted, released in 2016. A very gourmet floral fragrance with datura flower, orange blossom absolute and ginger essence, vetiver from Haiti , sweet and vanilla tonka bean powder. Georgia embodies, like the couturier, a vibrant and sunny life. As a Victoria’s Secret Angel for a few years, the 26-year-old from New Zealand has a singular beauty and a smile that we will not forget. The model took part in a formal interview. Interview.
In the title of Georgia Makhlouf’s new novel Port-au-Prince, round trip (La Cheminante / L’Orient des livres editions), the subtitle should not be overlooked. This “round trip”, evocative of departures, hazards, ruptures and recommences, is not only the promise of a reading full of twists, it also refers, secretly no doubt, symbolically in any case, to the author’s own journey. And this even if his book is not in the least autobiographical, but inspired by the life of his paternal grandfather. “He left Lebanon at the turn of the 20th century for Haiti at the age of 20, fleeing, like many of his compatriots, poverty and famine. He made his fortune, became attached to this island before undergoing its upheavals. My father was born in Port-au-Prince, and he grew up there until the age of 15, before the family returned to Lebanon. And although he didn’t talk much about it, this Haitian story has always fascinated me. It resonates all the more in me since I, too, left my country at the age of 20. And I didn’t really return until years later, ”confides the author over a morning coffee.
We know of Georgia Makhlouf her taste for the French language, her words and her methods of formulation which led her to animate, with passion, since the beginning of the 2000s, writing workshops in Beirut and Paris. We know the reviews and portraits of authors that she has written since 2006 in L’Orient Littéraire. A little less the books that she herself published, and which have nevertheless earned her more recognition. Like the France-Lebanon prize in 2006 for his collection Éclats de mémoire; the Phénix Prize in 2007 for The Standing Men, a literary essay on the Phoenician identity and, finally, the two Senghor and Ulysse Prizes for his first novel Les absent, published in 2014 by Rivages-Payot. So many clues about the quality of the writings of this Lebanese-French author who handles the language of Molière with pleasant and elegant precision and who, in about fifteen years, has made her mark in the French-speaking literary world.
War and freedom
Like her grandfather, Georgia Makhlouf had several lives. Professionals at least. Because before plunging completely “into the literary bath”, she worked for a long time in a Parisian communications consulting firm. Subsequently, she taught at USJ and Celsa, she led writing workshops, joined the editorial committee of L’Orient Littéraire, conducted interviews with authors before truly joining their circle in recent years. . “In fact, my path to writing has been long and depends on several stages,” she says.
The very first begins in Lebanon in a house where books were very present, “thanks to my father, great surgeon and great reader”, she points out. And therefore inevitably, reading encouraged from an early age. At 6, she already says she will be a journalist. As tall as three apples, she invents stories that she writes down in notepads renamed “notebooks”. Years later, with her bac in her pocket, she wanted to go to France to study journalism. But her parents, “who had a fairly traditional view of girls’ education,” opposed it. She then enrolled at the American University of Beirut to study Mass Communication and, at the same time, anthropology, “because I needed to be nourished on an intellectual level as well,” she says. Suddenly immersed in the bubbling student world of the pre-war period, with its demonstrations and revolts, this student from the College of the Ladies of Nazareth will face a new vision of the world. A vision more shocked, less conformist than that of her bourgeois environment, and therefore at the same time more distressing but also corresponding to a certain desire for freedom that she has always sought. Except that the outbreak of war in April 1975 will still represent the collapse of his world. “I almost physically felt the sensation of being in quicksand. ”She then became interested in the role of the media in the polarization of minds and decided to focus her studies on“ the impact of language in the ideological account of reality ”. Linguistics was not yet taught in Lebanese universities, so she flew to France in 1979 to pursue a doctoral degree in information and communication sciences. “The desire to leave was much older with me than the war, but I left at a time when the country was going so badly that I felt a feeling of guilt, like that of leaving a sick child”, confesses she does. Adding: “It was a heartbreak that took a long time to be appeased. ”
This long road …
At the end of her studies, Georgia Makhlouf joined a communications research and consulting firm in Paris. “For years, I did this job which was related to the analysis of the media, social discourse, advertising… First for the financial autonomy it offered me, then to exist professionally in France, where I was married and settled ”, she recounts.
The first calls for romantic writing are felt in 1987. A year in chiaroscuro, where the birth of his first son coincides with the death of his father. A few years earlier, the latter had given her a Kraft paper envelope, telling her that she would find documents there that would interest her. “There were letters and photos from my grandfather, my father’s own school notebook, on which he wrote ‘my country is Haiti’. I experienced this gesture as a kind of unformulated request to write this story. But, before embarking on writing, she first had to be able to travel to this country constantly victim of political instability or the unleashing of natural elements.
In 1993, the birth of her third son marked a turning point in her life. “Now a mother of three, I needed to organize myself differently,” she says. Asked by Saint-Joseph University (USJ) to teach media sociology, she enthusiastically accepts to reconnect with Lebanon. “Even though I stayed there regularly, I didn’t like this relationship as a tourist. I wanted to get more involved, to give something to my country. At the same time, she began to attend a writing workshop in Paris. And discover the enormous interest that this kind of activity arouses among his Lebanese compatriots. “I then trained myself there before embarking on it in 2000.” Six years later, Georgia Makhlouf finally realizes her childhood dream by integrating with “great happiness” L’Orient Littéraire, where she has since led great interviews with writers.
Now convinced that “literary writing is the best tool to understand the world”, Georgia Makhlouf undertakes in 2015 her trip to Haiti, this country which haunted her childhood imagination so much, to finally be able to get down to reconstituting, in a novel, the journey of his grandfather. Thanks to this pivotal book, which describes the Lebanese adventure of emigration with its difficulties and challenges, the one who divides her time between Beirut and Paris ensures that “the in-between which characterized (her) life and which For a long time, for (her) a heartbreak is now finally fully meaningful ”.
From 5.30 p.m., in the premises of L’Orient des livres, in Badaro, rue Benoît Barakat.
In the title of Georgia Makhlouf’s new novel Port-au-Prince, round trip (La Cheminante / L’Orient des livres editions), the subtitle should not be neglected. This “round trip”, evocative of departures, hazards, ruptures and beginnings, is not only the promise of a reading full of twists, it also refers, secretly …
While in France for a few concerts, Daniel Offermann, the bassist of Girls in Hawaii, took the time to answer our questions. From the collaboration with Luuk Cox to the Belgian music scene of the moment… Confidences!
With his latest album, Nocturne (2017), Girls in Hawaii proposed songs mixing influences and concretizing the transition to electro engaged on Everest released four years earlier.
While we were able to attend the concert of the Belgians in Caluire, we also had the chance to exchange with the bassist, Daniel Offermann, who told us about the creation process, the remix of Lost Frequencies and the scene …
Girls in Hawaii !
Hi Daniel! When we listen to your last two albums, Everest and Nocturne, we feel that one of the common points is the increasingly important use of electro sounds. Did the group feel the need to turn to this kind of music to evolve?
It is clear that we have tried to work on a musical color that interests us a lot and that we also find in what we listen to every day. We’ve always tried to make pop music based on ‘singable songs’ by trying less classical, less expected arrangements. From a moment we turned to cooler tones. That being said and to offset that, to Everest, we did an acoustic tour.
What interests us since playing together is finding other ways to play our songs. Ways more suited to what we listen to today. The atmosphere we have is to look for colors that are perhaps less expected for a pop-indie group even though we know that sometimes it requires our fans to follow us on these adventures. We are lucky to have a fairly loyal audience that does not listen to the same music as 20 years ago either. Our biggest fear is repeating itself, of being a band that does covers of itself.
One of the other things in common is the work with producer Lukk Cox. Was it obvious to work with him again?
It’s interesting because Lukk comes from electro music. For Everest, it was really a choice for which we did not know what it was going to turn out. Finally, it worked! Girls in Hawaii is a group that likes to have long-term relationships. To give you an example, we are still on the same small label in Belgium and we still have the same manager. With Luuk, it happened that way too. We also mentioned the possibility of working with another producer, but above all we wanted to push the idea ofEverest, of this sound universe and to find out how far we could go while keeping our DNA.
Within the group, it’s Antoine and Lionel who take care of the creation of your songs. Can you tell us about the process of creating Girls in Hawaii?
It’s really a funny pair! (Laughs) They have quite complementary universes but on the other hand they still need each other to create. After each tour, everyone goes home, that’s when they start doing their little demos and then they play them to us so that we can give our opinion. Sometimes there are great songs that don’t necessarily fit into the context of the album. This is also what is interesting. It’s the experience of a bunch of friends who have been making music for 15 years. Before returning to the studio, we make good listening sessions by giving our opinions and suggestions. Each in his opinion so it goes a little in all directions. It’s a real challenge to come to the end with a complete album that has a common thread. We remain attached to an album that has a certain organization with a beginning, a middle and an end and not just a compilation of songs stuck one after the other.
The group was born at a time when the Belgian scene was flourishing. Lately we see a lot of artists from Belgium like Romeo Elvis, Caballero or Angèle having success in France. What is your view on this musical renewal which is exported rather well?
This situation reminds me of what we experienced in our early days with all the indie groups that came out. Musically, it’s quite another thing, but I think that in the way of communicating, of not taking ourselves too seriously, it gets closer to us. I admit that I do not find myself there 100% either. There is like a team spirit.
Besides, last year, your compatriot Lost Frequencencies remixed “Guinea Pig”, is that an idea that came from you or his? How did this remix come about?
He comes from a small village not far from Antoine’s and one day he contacted us telling us that when he was young, he listened to our music. It was really him who came to us, who offered to do a remix. Like Luuk, it’s a totally different universe from ours, but the contact was great. I think that over time our bases have become stable and that we can afford this kind of experience. We probably never would have done it 15 years ago. It’s interesting to meet younger artists. It doesn’t necessarily work all the time, but it’s very important to stay curious and open about what’s happening in music. Lately we’ve had a remix from And Lacksman which is the anti-thesis of Lost Frequencies.
Check out the remix of “Guinea Pig” by Lost Frequencies:
After the great tour that followed the release ofEverest, you have chosen to go back to acoustic concerts in smaller venues. Was it a need for the group to find you in a smaller committee, to refocus on the very essence of your music?
What was cool about this acoustic tour is that we did it in a rush. We rehearsed two, three weeks before. We recorded the album live during the first concerts. We were really trying to put ourselves in danger, to have a certain fragility. After the hundred dates of the tour ofEverest, we fell into a kind of routine. We wanted to rediscover that feeling of hearing others play when we were on stage, that we felt that the instruments could break at any time. It was a pretty fun way to rediscover our music. Between us, we called it the ‘flea market’. When we play in small venues, it also allows us not to worry too much about the technique. Ultimately, we were at the base of what we look for when we make music together.
Finally, do you have a memory of a concert that marked you?
Oh it’s hard to say! The concerts on the big stages go by so quickly that it’s difficult to really enjoy them. The dates that are really often small during which you meet fans who explain to us that such and such a song was important to them at some point in their life.
The concert that left an impression on me was when we made our comeback after Denis’ death. After this tragedy, the group really almost stopped. We didn’t have the time and the energy to make an album anymore. We presented Everest for the first time during a festival in Belgium. We didn’t play particularly well but there was an emotion, an energy, a wind on stage that I retained until today. We really didn’t know what to expect if people were still interested in us. In my memory, it was a very special date because there was a beautiful energy between the public, the sky, the earth and us…
Joe Jackson staged a journey through his work in the Beethoven Hall with an excellently recorded band.
Stuttgart – Joe Jackson came up with a nice setting for his anniversary concert. As an intro and to end, he plays “Alchemy”, an enchanted piece of music from the current album “Fool”, which evokes the glamor and films of old Hollywood. On Sunday evening in the sold-out Beehoven Hall in the Liederhalle, Jackson explains the piece as follows: “Alchemy is an attempt to make something magical out of nothing, and that’s exactly what we’re trying to do.”
40 years after his first album “Look Sharp!” He wants to focus on this and another work from every decade, but he only adheres to the concept at the beginning and in no way slavishly.
The first idea came to him through a punk song
The idea for his first hit “Is she really going out with him” came to Jackson when he heard “New Rose”, the first single of the punk band The Damned and the first British punk single to begin with this – spoken – sentence . In the Liederhalle, the piece sounds completely fresh with three-part vocals: bassist Graham Maby, who enjoys design, has been a loyal companion to Jackson since 1979 and harmonizes well with the new guitarist Teddy Kumpel. It proves to be a win because it contributes just the right amount of edge to tease out the spirit of punk rock from Jackson’s early pieces. A brilliant version of “One more Time” and at the end one of “Got the Time”, both from the debut album, show: Here is an artist on stage who does not look a bit tired – on the contrary.
Jackson is in good voice, his fingers are dancing over the keys, the band proves to be excellent. Again and again he was asked if he didn’t want to go on a solo tour, Jackson says: “Then I say: No, it’s so boring! It’s a lot more fun with a band! ”The busy drummer Doug Yowell completes the current quartet, and he rarely just plays beats, but mostly sophisticated rhythmic patterns. Mates guitar clings to the keyboard parts and contrasts them at the same time, without ever being intrusive, Maby constantly pumps energy into the mix. This band plays together exceptionally dynamically, everything intertwines perfectly.
The sound of the 80s comes back to life
It is the cast of the strong current album “Fool”. Jackson takes the title from Shakespeare, as he explains: “It’s not about an idiot, it’s about a fool who makes others laugh and is actually smart,” says Jackson. Whether he means himself, the audience can then speculate in front of the theater with a heavy, artistically draped curtain. In any case, the Briton, who lives in Berlin, is struggling in “Big Black Cloud” with the populists and frighteners of the present day, in the ballad “Strange Land” he processes his alienation from his former adopted home New York.
The sound of the 80s comes to life in “Another World” and in the compositional gem “Real Men”, two pieces from the album “Night and Day” (1982). And the band also smoothly inserts these numbers into their oeuvre – on this evening, the songs from 40 years really sound like a single piece, however different the originals may be. This also applies to two songs from which American influences seem very clearly, “Stranger than Fiction” and “My House” from the album “Laughter & Lust” (1991). “Citizen Sane” and “Wasted Time” from the album “Rain” (2008) complete the concept journey through the decades, then the artist and his colleagues devote themselves completely to free play in this extremely tastefully arranged program.
It is not an octopus, says Joe Jackson
And it is no wonder that this band can also play Steely Dan as if it were the easiest thing in the world: Donald Fagan and Walter Becker were great influences for him, says Jackson, and you can actually hear that, especially in the vocal lines , with a sparkling clean interpretation of “King of the World”. This is a sovereign bow to the role models and the proof of a class that can be felt throughout the evening. Jackson’s first band – with Gary Sanford on guitar and Dave Houghton on drums – will always be the original, but the current one could be the most complete he’s ever performed with.
The Stuttgart audience has long been over the moon, applauding and cheering, and the artist actually seems a little moved: “We are really happy that you are there after all these years,” he says. As a thank you, there is a fine version of the pop hymn “You can’t get what you want” and a nice snotty version of “I’m the Man”. In the “Ode to Joy” the four remain frozen in a comedic insert as if photographically.
But they shoot the bird at “Steppin’ out ”(1982): Back then, he recorded all the instruments himself, Jackson says,“ and that’s not so easy live, because I’m not an octopus ”. So Maby uses the original carillon from back then, Yowell the original drum computer, buddy an additional keyboard – only the synthesizer bass runs as playback. There it is again in full splendor for a moment, the plastic sound of the 80s. And with him an artist who is celebrated for his many magical melodies, which apparently time can not harm.
Ghe just lay down, and then it was. A fall from a height of 40 meters, no, no one can survive, completely impossible – guardian angel or not. It’s a miracle that the man can still laugh. Even eat bread! Both hands on the collar, the buttocks placed on an iron bar just as wide as an office chair and no safety line in sight: If this construction worker is not afraid of heights, then probably nobody in the world.
Where does this scene take place? Not in one of the big cities in the United States, in Los Angeles or Chicago. Not even in New York, where a new skyscraper scratches the Manhattan sky almost every day. No, the man is working this morning in the Midwest, more specifically in Columbus, Ohio.
The population of the state’s capital has grown by eleven percent to around 880,000 residents within seven years. With the suburbs, it is two million people. Another 20 million could be added by 2050. Anyone who counts the scaffolding in the center immediately believes the forecast.
In Short North, for example, shell construction follows shell construction. The district is considered a Columbus hotspot. This is where star chefs and bartenders meet business people who want to offer the city more than the same chain of large chain stores.
Unconventional shops in Columbus
There are shops like that of Jason Williams. The shop windows give the impression that they last saw water during Bill Clinton’s presidency, and the confusion of dusty dolls, faded rubber balls and carelessly placed model cars does not initially suggest business success.
But “Big Fun” (672 N High St), as Williams called his shop, has proven to be one of the first addresses for the many young families who move to the city or are already here. After their time at Ohio State, the third largest university in the USA, students stay in Columbus and plan the next steps in life.
Upon entering, “Big Fun” turns out to be a treasure trove: rare Lego and Star Wars figures, Barbies, trading cards are piled up in the boxes and boxes, behind glass and on shelves. If every child in the city were allowed to take a toy home with them, there would be enough left for sale.
And “Big Fun” is by no means the only unassembled shop. A few hundred meters further, locals and visitors draw candles in the “Candle Lab” (751 N High St). Souvenirs, such as pins with sayings like “Ohio Til I Die”, are sold by “Tigertree” (787 N High St).
Lunch at the market, then to the museum
While more than 100 individually managed boutiques attract different special audiences, one institution attracts men, women and children alike: the North Market (59 Spruce St). Since 1876, traders have been loudly bringing food to the people here, and at this lunchtime, young and old are crowding through the building aisles with briefcases and prams, on walking sticks and on skateboards.
Some try “Herbert’s” Polish cuisine, others try tacos. Mason, in his mid-50s, who comes every day because he works around the corner, joins the queue for pulled pork.
If you are longing for peace and quiet, sit in the “The Guild House” opposite, where bagels with salmon and capers are on the menu. For just around $ 15, you can eat anywhere from good to excellent on the North Market, which is why budget for dessert remains: a dough ring with chocolate icing, salted caramel sauce and roasted almonds from “Destination Donut”, for example.
After lunch, you can simply stretch your feet or stroll through the large Columbus Museum of Art (480 E Broad St). In addition to African sculptures, paintings by European masters and works by contemporary artists, the paintings by US painters such as Robert Rauschenberg, Norman Rockwell and Frank Stella also inspire.
Just a short, free bus ride away, the National Veterans Memorial (300W W Broad St) has told the story of US soldiers since late October. The architecture alone – the building looks like a rolled up snake – attracts visitors from all over the world.
The neighbors meet in the German Village for dinner
The German Village, one of the city’s eleven historic districts, is less bustling. In addition to the oaks, the whole neighborhood seems to be made of bricks: streets and sidewalks, houses and property walls.
Tourist guide John Clark has his explanation for this: “Ohio is one of the northernmost areas in which clay occurs.” However, it has not yet been clarified that the rest of Columbus was not made of bricks. On the contrary, he had to repeatedly deprive his visitors of the idea that all of Germany was made up of brick buildings like the German Village.
Clark knows the neighborhood and its residents well, he is one of them. 27 years ago, he moved to the German Village, which also feeds the cliché of German order and thoroughness with precisely trimmed lawns, symmetrically arranged flower tubs and perfectly painted shutters like a filigree film set.
The neighbors meet for a meal once a month, “You can always go around in turn,” says Clark. Now he hopes that gentrification, which began in the quarter once built by German immigrants, will not destroy traditions like this.
Friedrich Schiller and the German flag
The Germans came to Columbus in the early 19th century, so numerous that a third of the city soon spoke German – until the First World War. “Then suddenly the mood started against the Europeans,” says Clark. Breweries had to close, many lost their jobs.
Even if hardly any resident today has Bavarian roots in the family tree, the district should remember its origins: Anyone who wants to (rebuild) build needs the approval of a city commission. In the park there is a statue of Friedrich Schiller, at the book store “Book Loft” a flag in black, red and gold is waving next to the stars and stripes.
In 32 rooms – one as large as a garage, the other as small as a shower cubicle – more than 500,000 books are lined up. An employee holding a book on the “100 different ways to prepare cabbage” under his arm says: “If we don’t have a title, it won’t be written.”
Matthew Barbee is sitting a few blocks away with his after-work beer; the foam crown slowly flows down the glass towards the wooden table. In 2014 he opened the “Rockmill Brewing” restaurant in a former horse stable in the brewery district.
Today he is the only one selling beer in the area, a Belgian ale is his specialty. It’s going well, says the 41-year-old. He could only use a few more parking spaces in the district, so that the restaurant business would also get going. But new parking spaces are apparently planned: “The city has assured me that there will be a lot going on here soon.”
Ohio’s second largest city, Cleveland, is booming
Cleveland, with almost 400,000 inhabitants, the second largest city in Ohio, is in a great mood of optimism, two hours’ drive north of Columbus. In the Ohio City district in the west alone, three microbreweries are lined up at 300 meters; if you want, you can move from one tap to another with a stamp book. “There has never been so much beer here,” says Robert, in his late 60s, who improved his pension with taxi rides.
“On the other hand,” he muses as he drives over an intersection, “I was rarely in the area before.” He shrugs his shoulders. Since the district was dominated by crime, he had hardly left the east side, never crossing the Cuyahoga River, which divides the city. But now Robert also lives in Ohio City, in one of the many Victorian houses.
The old – and new – residents shop at the West Side Market, drink coffee at “Rising Star Coffee” (1455 W 29 Street) and lick ice cream at “Mitchell’s” (1867 West 25th St.). It is quite possible that Prince also tried one or the other variety. The musician, who died in 2016 and was a frequent guest in Cleveland for appearances, looks down from a house wall as a portrait. Street art determines the district.
Cleveland’s boom is also evident in a forecast: According to forecasts, the number of guests will increase to 20 million by 2020. A little self-deprecation obviously does no harm: Last year the official tourism agency distributed postcards with the slogan “Greetings from a city that you have never visited”.
In June Cleveland celebrates a big welcome weekend with events. By then, the artisans are said to have done their job. On Euclid Avenue in downtown, a new building is just getting floor-to-ceiling glass fronts, while plasterers also prepare the facade of a historic building. Two houses away, tarpaulins flutter from a scaffolding. The tourist boom often includes a construction boom.
Citizens shape the city themselves
Hotel manager Hartmut Ott, who recently moved to Cleveland, is enjoying the spirit of optimism. In Chicago, his former home, it was impossible to have a say in the image of a city. In Cleveland, on the other hand, citizens could get involved.
The native of Munich is also impressed by the cultural offer: there is the world-famous Cleveland Orchestra. The equally famous Museum of Art with 45,000 works. The Rock’n ’Roll Hall of Fame with memorabilia from Elvis Presley to Pink.
And of course the Playhouse Square. After New York, it is the largest theater district in the country, and musicals are celebrating here that are celebrating success on Broadway: “Hamilton”, “Wicked” and “The Phantom of the Opera”. From September to June there are more than 300 different shows on the program. “We count a million visitors a year,” says Cindi Szymanski of Marketing at Playhouse Square. “Even Carnegies and Rockefellers once mingled with the audience.”
It is bad luck that America’s most successful entrepreneurs cannot visit Ohio today. You would certainly be extremely impressed – also when it comes to growth.
Tips and information
Getting there: American Airlines, for example, flies from Frankfurt to Charlotte, North Carolina, or Dallas to Cleveland. United, for example, runs from Berlin via New York City.
Accommodation: The “Marriott Downtown at Key Tower” in Cleveland is a 15-minute walk from Playhouse Square, double rooms from 120 euros. In Columbus, the “Marriott Hotel LeVeque” is one of the best addresses (from 170 euros; marriott.com). With prices starting at 115 euros, the “Drury Inn” (druryhotels.com) is a cheap alternative.
Excursion: Amish Country is located between Cleveland and Columbus. In the “Amish and Mennonite Heritage Center” in Berlin in Holmes County, interested parties can find out about the lifestyle of the strictly religious population.
All over the region, the Amish people sell home-made products that are a nice souvenir, such as honey, cheese, carpets and furniture (heartofamishcountry.com; visitamishcountry.com).
Information desk: experiencecolumbus.com; thisiscleveland.com
Participation in the trip was supported by Brand USA, the Marriott hotel chain and American Airlines. You can find our standards of transparency and journalistic independence at axelspringer.de/unabhaengigkeit.
From 2006 to 2011, Miley Cyrus played the role of Hannah Montana on Disney Channel. A cult series that has made the singer a true global icon. Get ready, Hannah Monatana is back!
“You get the best of both worlds!” If you spent your youth watching Disney Channel or KD2A in the 2000s – like the author of these lines – you must instantly sound like that credits roll in mind. For many, Miley Cyrus is the young ultra-sultry pop singer and buzz specialist. But for her first admirers, Miley Cyrus was the alter-ego of “Hannah Montana”. The series adored by a whole generation retraced the adventures of a young girl Miley Stewart who lives a double life: when she puts on her blonde wig with bangs, she becomes Hannah Montana, superstar of the song. So to celebrate the 13th anniversary of this cult series, Miley Cyrus has decided to trigger an earthquake of nostalgia by posting several videos and photos decked out in her mythical blonde wig. The star first sang the credits in her car, then exclaimed, “I’ve decided to be Hannah Montana forever!” A simple nod to the role that revealed her to the world. whole, but which filled his fans with happiness.
The excitement began to rise among fans of the artist when an account dedicated to his double of the small screen was created on Instagram, and that the singer subscribed to it. Miley Cyrus is full of surprises, so could an album under the name Hannah Montana see the light of day or a reboot of the series? There is no doubt that success would be there.
Jet-black and haughty, the brunette with hair pulled in a low bun had an explosive temper. The numerous portraits of her show a determined and determined woman. Helena Rubinstein, born in 1872 into a Jewish family in Krakow, marked the first half of the XXe century by its extraordinary destiny. While her parents, modest – her father is a grocer, her mother takes care of her eight daughters, of which Chaja (who will become Helena) is the oldest -, wish to marry her, the young girl prefers to embark alone for the Australia where three of his uncles live. She is 24 years old and routspah (“Toupee” in Yiddish).
Legend has it that when he left, his mother slipped into his trunk a few jars of the famous cream that would make his fortune and change the course of his life. “Vegetable wax, lanolin, mineral oil and sesame,” she said. Entrepreneur, she opened a beauty salon in Melbourne before returning to conquer Europe in 1905. She visited Berlin, Vienna, London and especially Paris, which fascinated her. She opened an institute there at 255, rue du Faubourg-Saint-Honoré in 1909 and her laboratories in Saint-Cloud. Passionate about culture and fashion, she decides to settle her family in the capital of arts and fashion.
Helena is a woman of taste. She surrounds herself with artists and writers of her time. Colette, Cocteau, Hemingway, Joyce, Man Ray and Chagall are received at her home. During the war years, from 1914 to 1918, she left for New York where she developed her business. The more her business grows, the more Helena supports the artists by commissioning portraits of her. At the end of her life, she owned more than thirty, made in particular by Raoul Dufy, Salvador Dali, Marie Laurencin. Only Picasso resists him. From her, the master will only draw sketches in the 1950s. She also poses for the greatest photographers, from Cecil Beaton to Erwin Blumenfeld.
Patron and art collector
This retrospective – presented in Vienna in 2017 – brings together some 300 documents, objects, clothing (signed Dior and Balenciaga), but above all many photos and works of art from his collection (dispersed after his death in 1965). Canvases by Vuillard, Giorgio de Chirico, Utrillo, Louis Marcoussis, but also sculptures by his friends Sarah Lipska and Chana Orloff surround this luxury nomad in his numerous residences, from New York to Grasse. We also discover, on the picture rails of the museum, two very beautiful tapestries, one by Jean Lurçat – Cavalcade(1930) -, the other by Picasso (rarely seen) – Secrets (1934). Always curious, she is interested in the art of Latin America (Portinari, Frida Kahlo) and in African art. Later, the abstraction of Martin Barré, with the decomposed canvas 57-50-B (1957) also seduces her.
The one who will defend the slogan “Beauty is power” is fearless. She divorced in 1938 and remarried to a Russian prince twenty-three years younger. The beauty industry keeps. Helena Rubinstein died at the age of 93.
“Helena Rubinstein. The adventure of beauty “, Museum of Art and History of Judaism, 71, rue du Temple (IIIe). Tel .: 01 53 01 86 65. Hours: Tue to Thu 11 am to 6 pm, Wed 11 am to 9 pm , Sat and Sun from 10 a.m. to 7 p.m. Until: August 25, 2019. Cat .: “Helena Rubinstein. The adventure of beauty “, Éd. Mahaj-Flammarion
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