Tag Archives: Nina Simone

THE 50 YEAR ARGUMENT

Robert Silvers was a brilliant, demanding, funny, painstaking, and inspiring editor, a walking chronicle of postwar literary-political history, an intimidating sweetheart, and very dear to me. At the end of an editorial session, once he had identified all your piece’s weaknesses, evasions, and missed opportunities, he would close with a brusque, even peremptory, but always, somehow, hopeful, “See what can be done.” In the world according to Silvers, there was always something to be done. — Michael Chabon

The New York Review of Books was founded in 1963 by Barbara Epstein, Jason Epstein, and their West 67th Street neighbors Elizabeth Hardwick and Robert Lowell during an extended newspaper strike in New York City. They asked their friend Robert Silvers to edit the broadsheet—and he agreed, if Barbara would join him as co-editor.

The Review was an immediate success, and during first decades published Mary McCarthy on Vietnam, James Baldwin (“An Open Letter to My Sister, Miss Angela Davis”), Isaiah Berlin, Hannah Arendt, Gore Vidal, Norman Mailer, Joan Didion, Richard Hofstadter, Edmund Wilson, Susan Sontag, Noam Chomsky, I. F. Stone, W. H. Auden, and many more. Today, Zadie Smith, Yasmine El Rashidi, Zoë Heller, Janet Malcolm, Hilton Als, Darryl Pinckney, James Fenton, Colm Tóibín, and Daniel Mendelsohn continue the intellectual tradition.

Before Silvers died in 2017, Martin Scorsese and David Tedeschi filmed the editor in his domain. The resulting film—THE 50 YEAR ARGUMENT, narrated by Michael Stahlbarg—documents the history of the paper with in-person interviews and a rich selection of clips. The film is available through HBO Max and is streaming free in September, courtesy of the Review.

See link below.

THE 50 YEAR ARGUMENT

Directed by Martin Scorsese and David Tedeschi.

Now streaming.

From top: Barbara Epstein and Robert Silvers in 1963 in their first office in the Fisk Building, New York City, photograph by Gert Berliner, courtesy and © the photographer and The New York Review of Books; David Moore, Mary McCarthy, New York, 1956, courtesy and © the photographer and the National Portrait Gallery, Australia; The New York Review of Books, May 25, 2017; Gore Vidal (center) with John F. Kennedy and Jacqueline Kennedy; Nina Simone and James Baldwin, early 1960s, photograph by Bernard Gotfryd, courtesy and © the photographer’s estate and the Library of Congress Collection; Isaiah Berlin (left) and Silvers, photograph by Dominique Nabokov, courtesy and © the photographer; Darryl Pinckney in London, 1991, photograph by Nabokov; Martin Scorsese and David Tedeschi, The 50 Year Argument (2014), image courtesy and © HBO Documentary Films; W. H. Auden; Joan Didion, photograph by Jill Krementz, courtesy and © the photographer; Francine du Plessix Gray and Silvers, photograph by Nabokov, courtesy and © the photographer.

JA’TOVIA GARY — THE GIVERNY DOCUMENT

I want to corroborate Black women’s reality. Some of us feel safe and some of us do not, but within that spectrum, there’s grief, there’s relief, there’s whimsy. There are feelings of anxiety and apprehension, but also faith and trust. Our inner world is layered and super vast, and I want us to be able to see that depicted on the screen, witness Black women having these interior moments…

I call myself a director who edits, but I’m probably an editor who directs … The idea of handing this over to someone else is so foreign, so counterintuitive. For me, that’s where the real making takes place. So my process is sourcing footage from everywhere, whether that be the internet or some image I’m creating myself or a collaboration with a DP or an archive. But the actual process begins once we sit down at that hard drive, because it’s important for me to have that level of control. Ja’Tovia Gary, interview with Rooney Elmi, 2019

This week at the AFI FEST presented by Audi, Gary brings her new 40-minute film THE GIVERNY DOCUMENT—which incorporates footage shot in New York City and at Monet’s historic gardens in France.

THE GIVERNY DOCUMENT will be preceded by BLACK BUS STOP, directed by Kevin Jerome Everson and Claudrena N. Harold.

THE GIVERNY DOCUMENT—SHORTS PROGRAM 6

Tuesday, November 19, at 7:45 pm.

Wednesday, November 20, at 3:15 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

From top: Ja’Tovia Gary, image courtesy and © the artist and the photographer; Ja’Tovia Gary, The Giverny Document (2019), images courtesy and © the artist.

JULIA BULLOCK

Julia Bullock—who brought the house down at Disney Hall last year at the Franz Schubert/Samuel Beckett concert and performance—will sing a program in Santa Barbara ranging from Schubert and Samuel Barber to Billie Holiday and Nina Simone.

John Arida will accompany Bullock on piano.

 

JULIA BULLOCK

Tuesday, April 3, at 7 pm.

Hahn Hall, UCSB

1070 Fairway Road, Santa Barbara.

Below: Julia Bullock in 2014. Photograph by Kevin Yatarola. Image credit: Julia Bullock.

MIRIAM MAKEBA DOCUMENTARY

Miriam Makeba—the South African singer and anti-apartheid activist—was “the voice and the hope of Africa. Her music influenced artists across the globe, and remained anchored in her traditional South African roots, conveying strong messages against racism and poverty.

“Forced into exile in 1959… she performed with Harry Belafonte, Nina Simone, and Dizzy Gillespie, and was married to Hugh Masekela and Stokely Carmichael.”*

A public advocate and entertainer to the end, Makeba died at 76 immediately after leaving a concert stage in Castel Volturno, Italy, in 2008. The documentary MAMA AFRICA—MIRIAM MAKEBA, directed by Finnish filmmaker Mika Kaurismäki, is now playing at the Downtown Independent.

 

MAMA AFRICA—MIRIAM MAKEBA, through Wednesday, February 21.

DOWNTOWN INDEPENDENT, 251 South Main Street, Los Angeles.

mamaafrica.brownpapertickets.com

downtownindependent.com/events

Miriam Makeba with (top) Marlon Brando, and Nina Simone. Image credit: Miriam Makeba Foundation.

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