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William, what is your earliest memory of dance?

My first memories of dance had to do with Hollywood films in which Fred Astaire starred! But I think what made the biggest impression was Walt Disney’s Fantasia, an animated film where they had taken classical music and made very imaginative choreographies or interpretations that were abstract and narrative. Like the one with the crocodiles and the hippopotamus! (Laughs)

I expected you to name a classic ballet film like The Red Shoes...

No, I only saw that later. I didn’t see any concert or formal dance until I was much older… I think I was 18 years old when I actually saw a real ballet. Before that, I danced at clubs a lot. My goal was either to be on Broadway or to be a club dancer. (Laughs) I even worked as a stripper briefly when I was in college.

“I think if you have an inclination towards a danced life, the feedback you receive from motion is perhaps exacerbated, you know?”


As a club dancer, you have to choreograph yourself, in a sense you have to develop your material. I think if you have an inclination towards a danced life — not a dance career, but a danced life — the feedback you receive from motion is perhaps exacerbated, you know? As human beings, we’re a little bit more inclined to feel an intensity when we’re involved in any kind of kinesis. I was fascinated by the challenge of ballet.

What is it exactly that fascinates you about that challenge?

It’s intellectual and it’s physical. In other words, you use your body to solve problems, and these problems are basically physics problems. You develop the skills to solve the challenges of centrifugal force and gravity and balance, plus fulfilling all these aesthetic criteria at the same time — it’s very, very complicated and I liked that. The problem in ballet is in general in the practice of ballet, where I feel there is a problem of loss of relevance.

Do you think that ballet is becoming an outdated art form?

For me, relevance means the ability to express through the work why it needs to be here now. There has to be an absolute necessity and it’s not always demonstrated that way. There are some extraordinary directors out there who are trying to instill the necessity to revitalize the practice of ballet and are really attempting to circumvent a historical drag — like Sharon Eyal, an Israeli choreographer whose structures are actually super-classically contrapuntal but with an utterly contemporary, even pop, sensibility.

Benjamin Millepied said he wants to see more innovation and risk-taking in ballet, especially from formal institutions.

Personally, I see a lot of waste in theater and in opera. I find it offensive given our situation today — politically, culturally, all that we are dealing with. You know, it’s one thing to make theater about some hot political topic but to spend an absurd amount of money for image is another matter…

I just think that you can use your imagination to create better solutions that don’t support the economic disparity that they try to display. Otherwise you are valorizing a class distinction that is no longer really helpful. Choreographers should be capable of harnessing what is important — the aspects of craft, which locates it in the historical trajectory of classicism — while being able to recontextualize it to a degree that it has contemporary relevance.

Is this something you try to accomplish in your art installations?

Yes. For example, Choreographic Objects — which comprises installations, film works, and discrete interactive sculptures — has been exhibited in museums and other institutional spaces. It seems significant that Gagosian recently presented it at this time when the art world is embracing choreography in all its forms. No matter how diverse the scale and nature of these projects have been, they all strive to give the viewer an unadorned sense of their own physical self-image and to return the analysis of kinetic phenomena that was previously the exclusive purview of professionals to a platform that speaks clearly to the non-specialist.

So how is movement incorporated in something like Choreographic Objects?

Well, most of the art pieces serve as surrogates for real-life interactions with the human environment — running to catching a bus; avoiding a swinging door; not tipping a chair; not stubbing your toe, and so on. For example, the three shows at Gagosian Le Bourget each demonstrated a different principle, from pure observatory spectacle to focused direct interaction. Black Flags was my most ambitious installation to date, a 28-minute duet for two standard industrial robots. In total contrast to this huge spectacle was a small-scale interactive work called Towards the Diagnostic GazeAlignigung is the latest in a series of video works that I have created in collaboration with some of the world’s greatest dancers. Essentially, what I often attempt to do is to isolate phenomena that are so fully integrated into our unconscious physical selves they are invisible to us.

William Forsythe’s Black Flags, part of the Choreographic Objects exhibition at Gagosian in 2017. Video © Gagosian, Artwork © William Forsythe Directed by Ulrike Stumpp. Edit and Post Production by Stefan Knauer.

Does art have to be disruptive in that way?

I think art can also be disruptive, but there is no imperative. Once you narrow it down and try to insist on some content, I don’t think that’s such a great moment for art. No one has any idea what really works, how it works, why it works and that’s the interesting thing about art. Everyone is trying to figure out exactly what, among many things, to communicate.

Did any your choreographies ever fail to communicate what you were looking to?

Oh, yeah! I’ve lived with that for a while. I’m one of a group of artists who had their shows stopped by audience dissatisfaction. (LaughsWhen I first began in Frankfurt, at the end of the performance at the Opera House, there were only 60 people left in the audience: 30 of them were booing and 30 of them were cheering! The show was called Gänge and it started out full because it was by subscription. And then all hell broke loose!

I guess the audience members didn’t know what they were signing up for…

I thought it was great that people felt so strongly about culture. I remember when I stepped out on stage to talk to the audience I was greeted with such an extraordinary wall of acoustic aggression. It was like nothing I’ve ever experienced in my life!

“My ballets were entirely new works and that was uncomfortable for the audience.”

Source: The Talk

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Top 10 Quotes From Elon Musk’s Genius




Regardless of whether we’re discussing on the web instalments, science, innovation or space travel, the name Elon Musk should fly up in your psyche.

Alluded to as the Nikola Tesla of our age, Elon Musk is a business person, business head honcho, speculator, designer, and innovator. This person unquestionably knows his way with cash. He turned into a multimillionaire in his late 20s when he sold his first new business, Zip2.

The founder of SolarCity, Tesla, and SpaceX trusts in humankind and needs to change the world, and this isn’t merely pie in the sky considering. The man is really taking a shot at lessening an unnatural weather change and building up a human settlement on Mars to forestall human elimination. What more verification do you have to trust that all that you decided is conceivable?

Here are 11 Elon Musk quotes to influence you to begin taking a shot at your fantasies, regardless of how unimaginable they may appear to be at present.

When something is important enough, you do it even if the odds are not in your favor.

It is possible for ordinary people to choose to be extraordinary.

The first step is to establish that something is possible then probability will occur.

Patience is a virtue, and I’m learning patience. It’s a tough lesson.

I think that’s the single best piece of advice: constantly think about how you could be doing things better and questioning yourself.

Some people don’t like change, but you need to embrace change if the alternative is disaster.

If you get up in the morning and think the future is going to be better, it is a bright day. Otherwise, it’s not.

Life is too short for long-term grudges.

I take the position that I’m always to some degree wrong, and the aspiration is to be less wrong.

People should pursue what they’re passionate about. That will make them happier than pretty much anything else.

For more such quotes and talks, subscribe to Talk Column today!

Disclaimer: All images are sourced from the web. No copyright infringement intended.

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Top 5 Things We Picked From Cristiano Ronaldo’s Interview




Cristiano Ronaldo has opened up about his life in his most cosy meeting to date with The Players’ Tribune.

The Real Madrid forward talks about everything from his first football memory, to his most significant minute in the game, and each inclination he had in the middle.

He additionally discusses his family, the two his folks who helped him achieve the highest point of the diversion, and his child, who helped him value the most important things throughout everyday life.

Underneath we have select five intriguing applies from the long meeting – 5 things you’ll certainly be intrigued to find out about the Portuguese.

Ronaldo played football on the roads… among cars.

Each adolescent has a type of memory of playing on concrete, regardless of whether it’s merely booting a ball against a check.

In any case, as indicated by future four-time Ballon d’Or champ Ronaldo, he used to play in the street, while autos were driving past. Thank the ruler there were no mishaps, eh?

He wasn’t prepared to leave home and battled at Sporting Lisbon.

Ronaldo appears to be the most satisfied person on the planet, yet at 11 years old he didn’t feel prepared to leave home for the Portuguese capital.

As per the man himself he battled at the Sporting Lisbon institute and was exceptionally achy to visit the family, just observing his folks once like clockwork. Luckily he stuck it out, and things showed signs of improvement.

He understood he was unique at the Academy.

It likely didn’t come as a lot of disclosure, considering the reality he would go ahead to end up the best player on the planet. However, Ronaldo can pinpoint the minute he knew he was extraordinary.

He’d show signs of improvement of his partners in preparing and was regularly lauded for his capacity. So, he conceded he was worried about being too little.

Turning into a father at Real Madrid made his chance at club additional exceptional.

It must be truly unique to advance out onto the pitch wearing the all-white Real Madrid strip and having the capacity to tell the world you’re a Los Blancos player.

Be that as it may, as indicated by Ronaldo, this has all been made additional unique by the reality he fathered his child while at the club, which he concedes changed his point of view.

Holding hands and strolling with child is his most memorable moment

Strolling as an inseparable unit with his child in Cardiff is his most loved memory.

All through the meeting, Ronaldo talks gladly about every one of the trophies he has won in his profession, however, concedes they implied more to him when he was more youthful.

Today he views his most loving memory as strolling around the pitch at Cardiff clasping hands with his young child after winning the Champions League. Favour.

We bet you found this amazing. For more such interviews and talks, subscribe to Talk Column today!

Disclaimer: All images are sourced from the web. No copyright infringement intended.

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Mr. Bailey, would you swear in front of the Queen?

No, if you’re going to accept the Queen you have to accept the tradition. You know, I’ve got nothing against the monarchy. I think there are too many hangers-on, but that’s also a cliché thing to say. I doubt she’d be too shocked. She’s been around; she’s not stupid.

You recently took the official photo for her 88th birthday.

Yes and I think she looks incredible for 88. I had never photographed her before.

Why not?

I wouldn’t photograph anybody if they only give you five minutes. I don’t care who it is. I don’t care if God phoned me up and said, “I want a picture, I’ve only got five minutes.” I’d say, “Well, work some of your magic and make it longer!” Even though I’m actually quicker than most and I usually get bored before they get bored.

What kind of people are the most difficult to photograph?

Lots of politicians are so full of themselves. Sports people too a bit. But actors are the most difficult because you never know who you’re photographing. They could be Hamlet or Lassie. But the fewer people they come with, the more interesting they usually are. Johnny Depp came with nobody so I knew it was going to be all right. Jack Nicholson never came with anybody, but Jack’s different because I’ve known him for so long.

You once said Jack Nicholson is the smartest actor because he knows something nobody else does. What is it that he knows?

I don’t fucking know. If I knew, I’d be as smart as him. (Laughs)

One of the things that fascinated me when I met him was his grin and the sparkle in his eye when he talked about women.

Yeah, with Viagra. He’s the first person that told me about Viagra.

When was that?

Oh, years ago. Before everyone knew about it! (Laughs)

“Actors are the most difficult because you never know who you’re photographing. They could be Hamlet or Lassie.”

When you know someone very well like you do Jack Nicholson is it easier to take a great portrait of them?

It depends. It’s one of those abstract things. We had a difficult bloke this week, what was he called? Van Morris or somebody… He was so grumpy. But I loved him being grumpy because I could use his grumpiness. I got a great grumpy picture out of him. If I see another picture of a rock ‘n’ roller against some graffiti… It drives you mad, the same old picture! Can’t they ever think of something different to do? So I don’t mind people that are difficult. I quite like that. It amuses me because there is always a way around it. I mean, no one could be more difficult than Van whatever he’s called, Van Morrison.

It seems pointless to have your picture taken if you’re not going to cooperate though.

Well he left really happy, Van Morrison. But it is kind of pointless to come here if you’re not going to help me. They might not like the picture, but one day they will. One day that’s what they’re going to look like – whether they look like that or not. Medici said to Michelangelo, “That sculpture doesn’t look like me.” Michelangelo said, “Listen, you’ll be dead in 20 years, but this will be around for 2,000 years. So, that’s what you look like!” You could say that a bit with photography.

Does it often happen that people aren’t happy with their portrait, but then years later change their mind?

Yeah. 10 years later usually. We had one recently, I won’t mention his name, I shot him 30 years ago and he said, “I hate the picture.” But his wife bought one for him as a birthday present recently. (Laughs) 30 years later and come get the picture.

Are celebrities more difficult nowadays than they were 30 or 40 years ago?

Well, I avoid celebrities. I’m not really interested in people that come with PR. That’s probably why I can’t work in America, because I don’t take all that bullshit. I don’t know how people like Bruce Weber manage, because it would drive me mad. All these silly people who don’t know anything that come with celebrities and try to tell you what to do. It’s madness! They brought it on themselves, the magazines. They should have been stricter. They should have said, “No, we’re not showing you. We’re doing the interview and that’s that.” But instead they pander to them and in the end they end up owning you. Those magazines are owned by the celebrities, really.

You don’t strike me as the type to pander to anyone.

I never really read what people write about me, but the comments people made when doing this exhibition recently at the National Portrait Gallery are so stupid. “Oh, Bailey panders to these people.” I don’t pander to anybody. I just do the picture I do. I don’t care who it is. And I won’t do pictures if people want approval. It has always seemed stupid to me that they ask you to do something and then want to sort of tell you how to do it. What madness!

Source: The Talk

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