Holiday Magic Is Made By Women. And It’s Killing Us.

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I have yet to send out my Christmas cards this year, but the various steps necessary to complete this task have been weaving through my mind for months. I booked a session with a photographer at the end of August. I picked out and shopped for outfits for the entire family in October. In November, the actual photoshoot took place, but not before a flurry of back-and-forth emails deciding on time and place while factoring in the weather.

The photos will be in soon. Perhaps there will be a clear winner, but the most likely scenario is that I will spend hours deciding which child’s “weird face” picture is the most palatable to send to grandparents. They can never just smile, no matter how much coaxing and bribing is involved. Then I will spend time carefully picking out the right photo card and figuring out just the right holiday message before ordering. I’ll have to check my address book, contact a handful of people for updates, decide who is getting a card, order stamps, hand-write addresses until I have carpal tunnel and lick envelopes until my tongue is swollen.

Of course, I could forgo this emotional labor and take the cards off my list entirely. It would free up a little mental space in an already hectic time, but it would also come with the consequence of disappointed relatives. I know because I actually did skip the holiday cards one year. My elderly aunt was heartbroken not to receive one. My husband’s grandparents were left without a set of great-grandchildren pictures to hang on the mantle. I had failed not only in the emotional labor of orchestrating the Christmas card, but also in considering the expectations and feelings of others.

“Women already perform the bulk of emotional labor ... but during the holidays, this work ramps up.”

Women already perform the bulk of emotional labor ― the psychological phenomenon of unpaid, often unnoticed labor that goes into keeping everyone around you comfortable and happy. But during the holidays, this work ramps up. There are more mental lists to juggle, more commitments on the calendar to keep track of, more tasks to delegate. There is more pressure to make things magical for those around you. It takes a lot of unseen and underappreciated effort to keep everything humming along smoothly.

Melody Wilding, a licensed social worker and coach who helps clients overcome challenges like emotional labor, says that a tendency to put too much on our plates and let self-care slip is often par for the course during the holidays.

“Putting pressure on yourself to have or create the ‘perfect holiday’ can send your stress skyrocketing, and overcommitment can quickly lead to exhaustion and burnout,” she told HuffPost.

How to manage the stress of emotional labor this time of year

I certainly try to keep self-care in mind during the holidays, usually taking on a yoga routine and drinking lots of decaf green tea to combat the stress. But the overwhelm still gets me. While it’s up to my husband to put up the lights and trim the tree, the vast majority of the holiday planning falls to me.

It’s me who puts the parties and potluck dishes on the calendar, keeps track of the winter coat drive, plans the get-togethers with both sides of the family, expends the mental energy of figuring out gifts for everyone. It’s exhausting, and seems unending (at least until after the new year rolls in). Normally this level of productivity would make me feel like a rockstar, but during this time of year, it simply feels like I’m falling short.

Experts say that this type of intense pressure can lead to perfectionism ― and in its most extreme form, perfectionism can be associated with mental health issues. Research has linked perfectionism with anxiety, depression and even thoughts of self-harm.

“Question the voice of your inner critic that says you’re not good enough.”

- Melody Wilding, licensed therapist

I’m not one to strive for perfection, but during the holidays it’s so easy to point out those spots where it would be feasible for me to do more. We could go chop down our own Christmas tree, but I’ve never actually gone ahead and planned a trip. I could learn to use my sewing machine and make a festive table runner and napkins. I could make a beautiful gingerbread house from scratch if I really tried hard. I find myself thinking I’m probably doing enough, but I feel like I could be doing more.

Wilding says a solution to that irrational feeling might be stepping slowly away from Instagram. It’s advice that makes sense: Studies show excessive social media use is linked with increased feelings of loneliness, anxiety and depressive symptoms.

“Social media makes it seem like everyone else’s life is perfect and enchanted ... except yours,” she said.

Wilding recommends taking the time you’d otherwise spend surfing Facebook and use it for more restorative activities (so probably not baking gingerbread houses from scratch, unless you’re really, truly into that sort of thing). There is plenty of emotional labor to be done without seeking out more. It may be best to reevaluate what you do, drop some commitments and choose to only do the emotional labor that you genuinely value.

“Question the voice of your inner critic that says you’re not good enough,” Wilding said.

That voice is usually wrong, Wilding stressed. So when it crops up, head in the opposite direction.

“Don’t be afraid to drop a ball, or two,” Wilding said. “You’ll discover the world won’t end, and in fact, will encourage other people to start picking up their share of responsibility.”

This article originally appeared in November 2017.

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London Sound Survey-Sounds of London

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http://www.soundsurvey.org.uk/index.php/projects/12_tones_intro/

There are over 1,000
recordings of London life on the London Sound Survey website, plus sound maps,
historical references to past London sounds, and some original 1930s and 1940s
radio broadcasts

All the recordings (which are safely stored in
the sound cloud )are Creative Commons-licensed which makes them available for
NON-COMMERCIAL USE ONLY. All you have to do under the terms of the license is
include an acknowledgement and a link to the London Sound Survey website at 
www.soundsurvey.org.uk.

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Piece Together Your Own Wall Art With the LEGO Modern Art Set

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It’s safe to say we have a few resident LEGOmaniacs (or AFOLs – Adult Fans of LEGO) amongst our team. Design Milk’s Editor-in-Chief, Caroline Williamson has been dutifully piecing together an impressively detailed A-Frame Cabin set, while I’ve been staying busy slowly piecing together my own LEGO Yamaha MT-10 SP model, a set I included in my last Take 5 list. I would like to think both of our next LEGO challenges will be the LEGO Modern Art building set, a more abstract 805-piece diversion where not following directions is all part of the plan.

While LEGO does include assembly instructions with their set, including an abstract face, it would seem natural to gift one of these sets to those people in your life known to do “their own thing.” Or better yet, give people who are not typically inclined to break the rules the opportunity/permission to just piece together whatever comes to mind.

LEGO Modern Art building set pieced into an abstract face displayed on a wall.

Abstract creation using LEGO Modern Art building set.

With a myriad of colorful wavy, tubular, rectangular, triangular, and circular pieces at your disposal, the set may very well inspire you to tap into your inner Ettore Sottsass.

Colorful abstract creation using LEGO Modern Art building set, with a bullseye piece in the middle.

Colorful abstract creation of a face using LEGO Modern Art building set, with extra pieces set to the left of the face.

Colorful horizontally oriented abstract creation using LEGO Modern Art building set.

The set includes a hanger element to allow you to proudly display your creation when completed.

Woman using her smartphone to scan a QR code on the LEGO Modern Art building set packaging for instructions.

At just $50 for a set, the LEGO Modern Art set might prove to be a very popular set for LEGO lovers out there.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

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Build Thick Layers in Your Oil Paintings With Mediums

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Showcase your talent and win big in Artists Network prestigious art competitions! Discover competitions in a variety of media and enter for your chance to win cash prizes, publication in leading art magazines, global exposure, and rewards for your hard work. Plus, gain valuable feedback from renowned jurors. Let your passion shine through – enter an art competition today!

Texture is a great addition to your paintings, bringing an added dimension to your creativity.

by Christine Camilleri

When painting in oils, it’s possible to create thick layers of oil paint, called impasto, that add texture to your work. The drawback is that because the application needs to be thick, the paint can take a long time to dry—and can be costly, too, as you use more oil paint than usual.  

I wanted to enhance my bison oil paintings by adding more texture and depth without compromising the paint quality, altering the paint color and temperature, or waiting days for the paint to dry. I discovered the perfect solutions in two specific mediums. 

Cold Wax Medium and Impasto Medium

Mediums change the behavior of oil paints. The two mediums I use that result in slightly different but effective outcomes for impasto texture are cold wax medium (I use Dorland’s) and impasto medium (I use Rublev Colours).  

Both mediums are particularly well suited to palette knives, and brushstrokes are retained with their use. My personal preference is to not overdue the impasto effect, but there’s also no reason not to paint thicker if you’d like. 

Cold wax medium (top) and impasto medium (below) 

Using the cold wax medium: You can add 30 to 50 percent medium to oil paint, mix with a palette knife, and paint on canvas. The proportions are flexible, enabling you to determine the thickness you desire. If you use more cold wax to paint, a rigid support is recommended, as the medium stays flexible and may cause cracks on canvas.  

Using the impasto medium: You can add the medium with indiscretion, but keep in mind that mixing in too much may alter the drying time and cause a color shift.  

Mediums in Action 

I find that bison have dense fur that’s perfect for textural work. I like painting these animals in a dramatic sidelight and, after the mediums are dry or almost dry, I can skip over the fur texture to mimic the sun’s rays. I also like that brushstrokes are retained. Below are details of my bison paintings, Prairie Quiet and That’s Close Enough, featuring the two mediums.  

Prairie Quiet 

When I paint bison, I’m very aware of their size, bulk, and thick fur. Because I want to convey their stature and size, I often paint them from the perspective of looking up from the ground, usually focusing directly on the massive head and those wild eyes. I’m also looking for drama, so I often use the side light of the sun. 

Detail of cold wax medium, oil paint, and brushstroke application for the bison 

Meanwhile, sagebrush and grasses in the foreground also get the same treatment. The mediums provide a wonderful three-dimensional quality that is difficult to achieve except with thick layers of oil paint.  

Prairie Quiet (detail) showing wax medium, oils, and palette knife application for sagebrush
Prairie Quiet (oil, 16×20) 

That’s Close Enough 

I enjoy pushing people’s expectations beyond, “The grass is green, the sky is blue, and bears—or bison—are brown.” We live in a world of color, so why not use its beauty to full advantage? That’s what I did with That’s Close Enough

Detail of impasto medium, oil paint, and brushstroke application above the nose of the bison 
That’s Close Enough (oil) 

Bison vs. Buffalo 

Although the terms “bison” and “buffalo” are often used interchangeably, they’re distinct animals. Here are five characteristics that set them apart: 

Bison are found in North America and Europe. Buffalo are native to Africa and Asia. 

Bison have massive heads. Buffalo have cowlike-shaped heads.

Bison have a hump at the shoulders. Buffalo don’t.

Bison have beards. Buffalo don’t.

Bison have short, sharp horns. Buffalo tend to have large horns with pronounced arcs.

Meet the Artist

Christine Camilleri, of Chilliwack, British Columbia, Canada, has been a professional artist for over 20 years, working in oil, pastel, and acrylic. She’s a Signature Member of the Federation of Canadian Artists; a Master Circle Member of the International Association of Pastel Societies; a Master Pastelist with Pastel Artists Canada; and an Associate Member with the Pastel Society of America. She has received numerous awards for her paintings throughout her artistic career, and her works have appeared in solo and group exhibitions. A sought-after art instructor, she also enjoys fly fishing, skiing, hiking, and backpacking in her spare time. 

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late-December cyberattack affects US museums’ digital collections and archives

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A late-December cyberattack has affected several arts institutions across the US, rendering digital collections displays temporarily unviewable. The attack, which targeted the software provider Gallery Systems, disabled access to collection- and archive-management services widely used by museums, academic institutions and corporations worldwide. Clients reporting outages include New York’s Rubin Museum of Art, Arkansas’s Crystal Bridges Museum of American Art, the Frances Lehman Loeb Art Center at Vassar College and the Museum of Fine Arts, Boston.

In a recent message to clients obtained by Zachary Small of the New York Times, Gallery Systems said: “We immediately took steps to isolate those systems and implemented measures to prevent additional systems from being affected, including taking systems offline as a precaution,” adding that they had “launched an investigation and third-party cybersecurity experts were engaged to assist". They also notified law enforcement.

Issues with the company’s software were first internally noted on 28 December, but the scale of the attack only became clear as museum staff found themselves unable to access various Gallery Systems programmes governing archival and operations records after returning from the winter holidays. Due to the temporary disruptions to the company’s eMuseum tool, museum visitors were also unable to access collections information.

Speaking to the Times, Erin Thompson, a professor of art crime at John Jay College of Criminal Justice, said: “The objects in museums are valuable, but the information about them is truly priceless. Often, generations of curators will have worked to research and document an artefact. If this information is lost, the blow to our knowledge of the world would be immense.”

Thankfully, the attack’s debilitating consequences on museum systems have not been universal; some Gallery Systems users, such as the Metropolitan Museum of Art at the Whitney Museum of American Art, host their own databases and have remained unaffected. Regarding the threat of lost information, Gallery Systems told clients: “We have been working around the clock to restore access to the software… We will be restoring your data with the last available backup.”

While similar attacks are often orchestrated with ransomware and seek payment in exchange for safe return of services and information, the motivation of the Gallery Systems attack is still unknown.

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How Artist Katharina Grosse ‘Accelerates and Compresses Time’ in Her Color-Filled Museum Interventions

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Amid the vaulted ceilings and marble floors of the interior of Vienna’s Albertina Museum, slashes of vibrant color in every possible hue explode across the monochrome white walls. The chromatic intervention is courtesy of artist Katharina Grosse, whose contemporary artworks push the boundaries of form— collapsing structures, traversing corners and edges, spilling from wall to floor in exuberant motion. Wielding a compressorized airbrush allows the artist to achieve unparalleled force and dynamism, electrifying the staid white cube.

Installation view, “Katharina Grosse: Why Three Tones Do Not Form a Triangle.” Photo: Sandro E.E. Zanzinger Photographie, courtesy of the Albertina Museum.

In an exclusive interview filmed as part of Art21’s Extended Play series back in 2015, Grosse explained the genesis of her practice, which has vaunted her to become one of the most respected artists of the 21st century.

“Interestingly enough,” the artist said wryly, “color is an element in painting that has always been discussed… as the female, less stable, less clear, and not so intelligent element… whereas the concept—the line, the drawing—is more the male, the clear, the progressive, and intelligent part of the artwork.” Of course, Grosse utilizes color to create a concept, as she noted, “in relationship to the crystallized and built and materialized world that is part of what I do when I paint in space.” 

Many of the artist’s interventions at museums, including the current exhibition at the Albertina, are site-specific and only last for the duration of the show. They become the space, transforming it entirely. “All the different actions go together on one surface,” she explained, “so it’s little bit like violence in a movie, which kind of accelerates and compresses time.”

 

Watch the video, which originally appeared as part of Art21’s series Extended Play, below. “Katharina Grosse
Why Three Tones Do Not Form a Triangle” is on view at the Albertina through April 1, 2024. 

[embed]https://www.youtube.com/watch?v=HBfPMGS7XPo[/embed]

This is an installment of “Art on Video,” a collaboration between Artnet News and Art21 that brings you clips of news-making artists. A new season of the nonprofit Art21’s flagship series Art in the Twenty-First Century is available now on PBS. Catch all episodes of other series, like New York Close Up and Extended Play, and learn about the organization’s educational programs at Art21.org.

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Pop Culture Moments We’re Looking Forward To In 2024

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Pop Culture Moments We’re Looking Forward To In 2024

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Diversity Among Hollywood Directors Wasn’t Any Better In 2023

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Greta Gerwig’s smash hit “Barbiedominated headlines in 2023, making over $1 billion at the box office and becoming one of the year’s biggest cultural phenomena. But Gerwig’s successful trajectory from directing indie films to 2023’s highest-grossing movie — and the highest-grossing film directed by any woman in history — is still the exception to the norm. The club of directors at the helm of Hollywood’s biggest movies remains primarily a Mojo Dojo Casa House, the masculine abode of Ken (Ryan Gosling) in her film.

Women, people of color, and especially women of color remain woefully underrepresented in the director’s chair on major theatrical releases. It’s a persistent problem each year, and 2023 was unfortunately no different, according to the latest research from the University of Southern California’s Annenberg Inclusion Initiative, which has gathered data on representation and inclusion in Hollywood dating back to 2007.

Based on the initiative’s data, it has become increasingly apparent that recent pledges from Hollywood gatekeepers to hire more directors from underrepresented communities have been “performative acts by the entertainment industry and not real steps towards fostering change,” the group, founded by USC professor Stacy Smith, wrote in its latest report, whose findings were released Tuesday.

Year after year, the initiative has found minimal changes in the levels of women and people of color directing major movies. For instance, over the past 17 years, just 19 women of color have directed at least one of the top 100 highest-grossing films at the box office annually (from a total of 1,700 films between 2007 and 2023), according to the group’s data.

Four of them were in 2023: Adele Lim (“Joy Ride”), Celine Song (“Past Lives”), Fawn Veerasunthorn (“Wish”) and Nia DaCosta (“The Marvels”), who was the only Black woman to direct a major box-office film last year. These four women of color accounted for just 3.4% of the directors behind the 100 top-grossing films of 2023. That figure was similarly low in 2022, when 2.7% of the directors on the highest-grossing films were women of color.

"Past Lives" director Celine Song (second from left) appears with the film's cast and producers at the Gotham Awards on Nov. 27, 2023, in New York City.

Dimitrios Kambouris via Getty Images

Women overall have also made few, if any, gains in directing in recent years. Just 12.1% of the directors of 2023’s top 100 films at the box office were women — barely a difference from 2022, when the figure was 9%, according to the report. “The percentage has not changed notably since 2018, when 4.5% of directors were women,” the report said. On average across all 17 years of the group’s data, only 6% of directors on major films were women.

“These figures are not merely data points on a chart,” Smith said in a statement. “They represent real, talented women working to have sustainable careers in an industry that will not hire them into jobs they are qualified to hold solely because of their identity.”

Directors of color have seen a similar lack of progress. Across the 100 top-grossing films of 2023, a total of 26 directors (22.4%) were people of color. When broken down by race and ethnicity, 14 were Asian (53.8%), eight were Black (30.8%), two were Hispanic/Latino (7.7%) and two were multiracial or multiethnic (7.7%). Once again, there was no notable improvement from 2022, when the figure was 20.7%. Both years marked a decrease from the 27.3% of directors of color in 2021. According to the group’s data, there has been no significant shift for such directors since 2016, when 13.3% of the filmmakers behind the year’s major movies were people of color.

When breaking down 2023’s top films by studio and distributor, the group found that much of the work in hiring directors of color has come from smaller, independent distributors like A24, Crunchyroll, Angel Studios and United Artists Releasing, rather than from the major Hollywood studios.

Year after year, the group’s findings, along with similar studies elsewhere, have continually identified a pipeline problem. Compared with their white male counterparts, most women and people of color don’t get the chance to move up the ladder, from directing independent films to episodes of major television shows, streaming movies and, eventually, big box-office hits. In other words, the larger the project, the more likely a white man gets hired to direct it.

To show a snapshot of the issue, researchers compared three different levels of directing. For instance, on average, nearly 55% of directors competing in the most recent four years of the Sundance Film Festival’s U.S. Dramatic Film category — which comprises independent movies — were women, and 52% were people of color. For episodic television, 38% of directors during the 2020-2021 TV season were women, and 34.5% were people of color, according to data from the Directors Guild of America. And among Netflix’s original feature films in 2021, 26.9% of directors were women, while 22.4% were people of color.

Given the drop-offs at each level, it’s no wonder that the percentages of women and people of color directing at Hollywood’s top echelons are so low.

These numbers clearly demonstrate that industry leaders and major executives with the power to greenlight movies haven’t followed through on their repeated promises to hire and support a more diverse range of directors, according to the group.

“This report offers a contrast to those who might celebrate the dawning of change in Hollywood after a year in which ‘Barbie’ topped the box office. One film or one director are simply not enough to create the sea change that is still needed behind the camera,” researchers wrote in the report.

“Until studios, executives, and producers alter the way they make decisions about who is qualified and available to work as a director on top-grossing films, there is little reason to believe that optimism is warranted.”

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» Dramatic Works Swept Up in Florida Book Bans Howard Sherman

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Clive Owen and Jin Ha in the 2017 Broadway revival of M. Butterfly by David Henry Hwang (Photo by Joan Marcus)

“There is more than one way to burn a book,” wrote Ray Bradbury, in an afterword to his novel Fahrenheit 451. “And the world is full of people running about with lit matches.”

It is no small irony, consequently, that Bradbury’s classic tale of book burning, written in the wake of Germany’s affinity for book burnings leading up to and during World War II, finds itself banned at times in the present day. Book challenges and resulting book bans may not send a plume of smoke into the sky, but the goal is the same: to make it difficult for people to be exposed to certain ideas, to control what they may learn and think. Another classic of thought control, George Orwell’s 1984, often finds itself alongside Bradbury’s novel where such censorship takes root. Both appear on PEN America’s dataset of some 5,800 books banned in US schools between July 2021 and June 2023.

There are multiple compendiums of banned books in schools that have been developed by different organizations. In addition to the expansive list from PEN America, The Washington Post studied trends within book challenges numbering roughly 1,000, drawn from 150 school districts during the 2021-22 year, publishing their results in a multistory report on December 23. Days earlier, on December 20, the Orlando Sentinel listed 673 books removed from classrooms in Orange County, Florida this year alone, primarily due to new Florida laws which require school media specialists to remove books with pornography or so-called “sexual conduct.”

The 673 books from Orange County described many of the same trends as those summarized by the Post and PEN: young adult books, books with LGBTQIA+ content, books by authors of color. Among the authors whose works were placed into review were Maya Angelou, Margaret Atwood, Gordon Parks, Ovid, Marcel Proust, William Styron, Kurt Vonnegut and Alice Walker; among the perhaps more unexpected titles are Jude the Obscure by Thomas Hardy and A Tree Grows in Brooklyn by Betty Smith.

It’s impossible to know what books are in Orange County schools but presumably the number and range is considerable. US News says the district serves over 200,000 students and has 91 middle schools and 60 high schools. That said, it’s not unreasonable to expect that the source of the challenges matches the profile ascertained by the Post in its study, which revealed that 60% of the book challenges came from only 11 people. 

Within the 657 books detailed by the Orlando Sentinel, it’s worth noting that a small number of plays were placed under review. They are, in alphabetical order by author:

Four Plays by Aristophanes

Dance Nation by Clare Barron

The History Boys by Alan Bennett

The Bridges of Madison County by Marsha Norman and Jason Robert Brown

The House of Bernarda Alba by Federico Garcia Lorca

The Collected Plays by Lillian Hellman

M. Butterfly by David Henry Hwang

The Beauty Queen of Leeanne by Martin McDonagh

Sweat by Lynn Nottage

Equus by Peter Shaffer

The Food Chain byNicky Silver

That’s right: in Orange County, Florida, students currently can’t read three Tony Award winners for Best Play, as well as a major work by a Pulitzer prize-winner, let alone a collection of plays by one of the earliest major dramatists in world history. There is no indication as to the specific reason why these books have been withdrawn or what universe of books these were drawn from. Is the list so short because the district hasn’t provided schools with a representative sampling of play texts or because the individuals lodging complaints simply haven’t focused their attention in that direction?

Curiously the significantly longer PEN list for 2022-23 doesn’t show any dramatic works, suggesting something in their methodology may be at play, though prose works by writers who are strongly affiliated with theatre can be found, including Alan Cumming, Tim Federle, Lupita Nyong’o, and Adam Rapp; a manga edition of Hamlet also appears. If for some reason PEN has extracted dramatic works intentionally, then they have done the field a great disservice, since the challenging or banning of any text must be brought into the light.

The presence of play texts in school classrooms and libraries is essential, because even in districts where drama has escaped the censors’ eyes, there simply are too few production opportunities for students to be exposed to the breadth of dramatic literature. Incidents of production censorship make the news intermittently, but my own workshops reveal how many titles are refused for production by school officials, and yet more aren’t even proposed by teachers who fear blowback for even suggesting them.

In the wake of the Orlando Sentinel article David Henry Hwang wrote on the social media platform Threads, “Proud to have my play banned in Florida! When the MButterfly movie was banned in China in the 1990s, this led to everyone there wanting to see it. Remains to be seen how Floridians react.”

Nothing would be more gratifying than to find that bans only increase the popularity of the works under fire, sending students to public libraries and bookstores to seek out the forbidden fruit. If that were the case, we’d see authors clamoring to be banned. But once a book is banned, even if the ban generates attention, time passes and attention eventually fades, while the book remains unavailable as part of an educational experience, whether in a classroom or in a school library.

As expansive and valuable as all three reports are, those from PEN and the Washington Post are surely not fully representative of the full extent of book challenges and bans across the country, since they rely on various forms of public records releases, external submissions in response to requests, and direct discovery through interviews. As with so many such cases, they still must be looked at as the tip of the iceberg and, when it comes to dramatic works, as largely insufficient, except to highlight the degree to which a relatively small activist group of narrow-minded people want to dictate what literature can be accessed by young people who are inquisitive, broad-minded and in search of thoughts and stories beyond those that have passed some manner of purity test invented by unqualified individuals on censorious crusades.

As the Sentinel and the Post note, challenges don’t always result in bans and some works may yet be restored to school shelves. That’s why the only response is to support the books and the opportunity for expansive learning – and to watch for where theatre is being silenced, be it in performances, or just as text on shelves in schools.

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Top 10 skyscrapers of 2023 for Dezeen’s review of the year

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Next up in Dezeen's review of 2023, we look back at 10 headline-grabbing skyscrapers that completed this year, including a spiralling supertall, a 1970s retrofit and the highest building in Brooklyn.

The Americas dominate this year's list, with three buildings in New York, two each in Vancouver and Sao Paulo and one in Mexico City. The other two come from the Asia-Pacific region, with one in Shenzhen and the other in Sydney.

Big-name architects feature on the list, including BIG and Kengo Kuma & Associates, as well as firms that are known for tall buildings, such as KPF and SHoP Architects.

Three of the featured projects are renovations of existing structures, demonstrating how outdated skyscrapers can be updated to meet today's standards.

Read on to see all 10:


Photo by Laurian Ghinițoiu (also top)

The Spiral, New York City, USA, by BIG

One of the most-read stories on Dezeen in 2023 revealed the news that BIG had completed a 314-metre-high tower with a "classic ziggurat silhouette" in New York City.

The Bjarke Ingels-led studio gave the supertall building a series of terraces that step up around its exterior, which provided the cues for the name, The Spiral.

Find out more about The Spiral ›


Brooklyn Tower by SHoP
Photo by Max Touhey

Brooklyn Tower, New York City, USA by SHoP Architects

The 325-metre-high Brooklyn Tower was recently voted by Dezeen readers as the best skyscraper of the past year.

Designed by SHoP Architects, this black and bronze striped tower is now the tallest building in Brooklyn. It is built above the historic Dimes Savings Bank, which is integrated into its podium.

Find out more about Brooklyn Tower ›


Alberni, Vancouver, Canada, by Kengo Kuma & Associates
Photo by Ema Peter

Alberni, Vancouver, Canada, by Kengo Kuma & Associates

The studio led by Japanese architect Kengo Kuma designed one of the most unusually shaped skyscrapers of this year.

Located in Vancouver, the 43-storey Alberni tower by Kengo Kuma features a rectilinear form that integrates two large "scoops". The idea was to preserve views towards its neighbours and bring extra light into the apartments inside.

Find out more about Alberni by Kengo Kuma ›


Quay Quarter Tower in Sydney named Best Tall Building Worldwide
Photo courtesy of 3XN and BVN

Quay Quarter Tower, Sydney, Australia, by 3XN and BVN

This retrofit of a 1970s tower was named tall building of the year by the Council on Tall Buildings and Urban Habitat, the leading authority on skyscraper news and data.

A collaboration between Danish office 3XN and Australian firm BVN, the project involved an extensive refurbishment of the modernist AMP Center, including the addition of a solar-shading system on the facade.

Find out more about Quay Quarter Tower ›


Shenzhen Women and Children's Centre, Shenzhen, China, by MVRDV
Photo by Xia Zhi

Shenzhen Women and Children's Centre, Shenzhen, China, by MVRDV

The most colourful skyscraper in our top 10, this renovation of a 100-metre-high drum tower in Shenzhen is the work of Dutch firm MVRDV.

As with Quay Quarter Tower, solar shading underpinned the design. MVRDV designed a gridded aluminium frame that was installed over the glazed facade and decorated in bubblegum shades of green, pink, yellow and orange.

Find out more about Shenzhen Women and Children's Centre ›


A building with a green glass facade
Photo by Lucas Blair Simpson/SOM

Lever House, New York City, USA, by SOM

November saw SOM complete the restoration of Lever House, 70 years after the studio originally designed the historic Manhattan office tower.

The 94-metre-tall building is known for its green-hued glass facade, which was only the second curtain wall to be installed in New York City.

Find out more about Lever House ›


Mitikah
Photo by Jason O'Rear

Mitikah, Mexico City, Mexico, by Pelli Clarke & Partners

Now the tallest building in Mexico City, this 267-metre-high tower was designed by American firm Pelli Clarke & Partners to feature a distinctive curved glass form.

The oval-shaped footprint helps to soften the building's appearance, with the aim of creating a formal similarity with the mountains that surround the city.

Find out more about Mitikah ›


POD Pinheiros by FGMF Arquitetos
Photo by Fran Parente

POD Pinheiros, São Paulo, Brazil, by FGMF Arquitetos

FGMF Arquitetos showed how a high-rise could offer indoor-outdoor living with this project in Brazil's largest city.

The 24-storey tower is organised around an open-air atrium located on the eighth floor, which serves as a public plaza. Around it, staggered volumes create a series of balconies, roof terraces and elevated walkways.

Find out more about POD Pinheiros ›


Skyscraper from the side
Photo by Pedro Vannucchi

Platina 220, São Paulo, Brazil, by Königsberger Vannucchi

São Paulo is also now home to this 172-metre-high mixed-use skyscraper, which has become the city's tallest building.

Königsberger Vannucchi Arquitetos Associados designed Platina 220 as four volumes, with three smaller blocks sandwiching the much taller central tower.

Find out more about Platina 220 ›


KPF skyscraper vancouver
Photo by Ema Peter

320 Granville, Vancouver, Canada, by Kohn Pedersen Fox

Undulating curves give character to the glazed facade of this 30-storey tower in Vancouver, designed by skyscraper specialist Kohn Pedersen Fox (KPF).

The studio likens the effect to the rippling water, in reference to the building's harbour-front location.

Find out more about 320 Granville ›


Dezeen review of 2023

2023 review

This article is part of Dezeen's roundup of the biggest and best news and projects in architecture, design, interior design and technology from 2023.

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Mbongeni Ngema, Playwright Best Known for ‘Sarafina!,’ Dies at 68

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Mbongeni Ngema, a South African playwright, lyricist and director whose stage works, including the Tony-nominated musical “Sarafina!,” challenged and mocked his homeland’s longtime policy of racial apartheid, died on Wednesday in a hospital in Mbizana, South Africa, after a car accident. He was 68.

Mr. Ngema was a passenger in a car that was struck head on when he was returning from a funeral in Lusikisiki, in Eastern Cape Province, according to a family statement cited in the South African news media.

“His masterfully creative narration of our liberation struggle honored the humanity of oppressed South Africans and exposed the inhumanity of an oppressive regime,” President Cyril Ramaphosa of South Africa said in a post on X after Mr. Ngema’s death.

In the decade before the release of Nelson Mandela from prison in 1990 and the dismantling of apartheid in the early ’90s, the South African system of institutionalized racism was an overwhelming concern to Mr. Ngema. During that decade he cocreated the play “Woza Albert!,” wrote and directed the play “Asinamali!” and wrote the script and collaborated on the music for “Sarafina!”

“Sarafina!” evolved out of a conversation he had in the 1980s with Winnie Madikizela-Mandela, a prominent anti-apartheid activist who was then married to Mandela.

“I was sitting with Mama Winnie Mandela, and I started thinking, ‘This country is in flames,’” he told the South African television show “The Insider SA” in 2022. “So I asked a question. I said, ‘Mama, what do you think is finally going to happen to this country?’

“Mama looked at me, and she said, ‘I wish I had a big blanket to cover the faces of the little ones so they do not see that bitter end.’”

Mr. Ngema soon began to envision young people, running and singing “Freedom Is Coming Tomorrow,” a song that he would write for “Sarafina!,” a musical that follows Black high school students in the township of Soweto in 1976 during the uprising against the government’s imposition of Afrikaans, rather than Zulu, as the official language in schools.

“Sarafina!” opened in Johannesburg in 1987. It moved that fall to the Mitzi E. Newhouse Theater at Lincoln Center and then, in early 1988, to Broadway, at the Cort Theater, where it played 597 performances.

In his review of the production at the Newhouse, Frank Rich of The New York Times wrote that Mr. Ngema had “brought forth a musical that transmutes the oppression of Black townships into liberating singing and dancing that nearly raises the theater’s roof.”

The score, he added, “evokes the cacophony of life in a Black society both oppressed and defiant, at once sentenced to hard labor and ignited by dreams of social justice.”

“Sarafina!” received five Tony nominations, including three for Mr. Ngema: for best direction of a musical (won by Harold Prince for “The Phantom of the Opera”), best original score (won by Stephen Sondheim for “Into the Woods”) and best choreography, which he shared with Ndaba Mhlongo (won by Michael Smuin for “Anything Goes”).

“Sarafina!” was also nominated for best musical and best featured actress in a musical.

It was adapted as a film in 1992, starring Leleti Khumalo, who had starred in the South African and Broadway productions, with Whoopi Goldberg as an inspirational teacher and the singer-songwriter Miriam Makeba as Sarafina’s mother.

Mbongeni Ngema (pronounced mmm-bon-GEN-i nnn-GAY-ma) was born on June 1, 1955, in Verulam, a town north of Durban.

According to his official biography for the film “Sarafina!,” he was separated from his parents at 11, then lived for a time with extended family in Zululand and later on his own in the poor neighborhoods around Durban. From age 12, he taught himself to play guitar.

“When I grew up all I wanted to be was a musician, and I was influenced greatly by the Beatles,” he said on “The Insider SA.”

Working in a fertilizer factory in the mid-1970s, a fellow worker asked him to play guitar to accompany a play he had written.

“And then I fell in love with the part of the lead character in the play,” he told the magazine Africa Report in 1987. “When he was onstage, I would mimic him backstage — making the other musicians laugh.” One night, when the actor did not show up, he played the role.

Mr. Ngema and the playwright began to collaborate, which led Mr. Ngema to start directing and writing his own small pieces. In 1979, he began working in Johannesburg with Gibson Kente, a playwright and composer, to understand the magic in his productions. After two years, he left and began working with the performer Percy Mtwa.

He, Mr. Mtwa and Barney Simon created “Woza Albert!,” a satire that imagines the impact of the second coming of a Christ-like figure, Morena, who arrives in South Africa on a jumbo jet from Jerusalem, through the lives of ordinary people, vigorously played over the course of 80 minutes by Mr. Ngema and Mr. Mtwa.

The white government tries to exploit Morena, then labels him a Communist and locks him up on Robben Island, where Mandela and other political prisoners were incarcerated.

The play opened in South Africa in 1981 and was staged over the next three years in Europe, Off Broadway at the Lucille Lortel Theater and around the United States.

In The Washington Post, the critic David Richards wrote in 1984 that “Woza Albert!” “tackles such harsh realities as injustice, poverty and apartheid in South Africa, but does so with far more spirit, humor and, yes, hope, than the subject generally inspires.” He added that “with only their wonderful, wide-eyed talent,” Mr. Mtwa and Mr. Ngema “can summon up a landscape, a society, a history.”

Mr. Ngema then wrote and directed “Asinamali!” (1983), in which five Black men in a single South African prison cell describe — through acting, dancing, singing and mime — why they were incarcerated and how they were victimized by racist laws, unemployment and police violence.

The play’s name (which means “We have no money”) comes from the rallying cry of rent strikers in 1983 in the Lamontville township.

Mr. Ngema said that “Asinamali!” was alarming enough to authorities in Duncan Village, in the Eastern Cape, that they arrested the audience for attending a performance.

“They said it was an illegal political gathering,” Mr. Ngema said in an interview in 2017 on a South African podcast.

He called “Asinamali!” a celebration of resistance.

“It shows that no matter how bad things get, victory is inevitable,” he told The Times in 1986 during rehearsals before the play opened in Harlem at the New Heritage Repertory Theater. “The spirit of the people shall prevail.”

Later that year, “Asinamali!” was part of a South African theater festival at Lincoln Center.

Information on Mr. Ngema’s survivors was not immediately available. His marriage to Ms. Khumalo, the star of “Sarafina!,” ended in divorce.

Mr. Ngema, who wrote several other plays, was involved in a controversy in 1996 when his sequel to “Sarafina!,” “Sarafina 2” — commissioned by the South African Health Department to raise awareness about the AIDS epidemic — led to a government corruption investigation over accusations that its cost was an excessive “unauthorized expenditure” and that its message was inadequate.

He defended the show’s price tag, saying it was necessary to bring Broadway-quality shows to Black townships.

“People have said it’s a waste of government money,” Mr. Ngema told The Associated Press in 1996. “It think that’s a stupid criticism.”

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Mike Nussbaum, Celebrated Chicago Theater Actor, Dies at 99

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Mike Nussbaum, an actor known as the dean of Chicago theater who found success during his early association with David Mamet, the Chicago-born playwright, died on Dec. 23 at his home in Chicago. He was 99.

His death was announced by his daughter Karen Nussbaum, a labor organizer.

For the last decade, Mr. Nussbaum has also been known as the country’s oldest working actor, a distinction that mildly irritated him. (For admiring journalists, he gamely performed his daily regimen of 50 push-ups, a practice he kept up until he was 98.) He often said he would have preferred to have been recognized solely for his acting skills, not the age at which he was acting.

Mr. Nussbaum came up in Chicago’s community theaters, notably Hull House, an incubator of talent in the 1960s, while also running a successful exterminating business. When he was 40, he was tackling a wasp nest when he fell off a roof, smashing a kneecap and breaking a wrist. While he stewed on the couch recuperating, he decided it was the right moment to pursue acting full time.

A pivot point in his acting career came in 1975 when Mr. Mamet, then a fledgling playwright, cast him in the role of Teach in an early production of the celebrated play “American Buffalo,” about a trio of hapless, double-crossing hustlers. The pair had met at Hull House, where Mr. Mamet had worked as a gofer when he was a teenager.

“It was, for those of us who saw it, kind of an overwhelming, definitive experience,” Robert Falls, the former artistic director of Chicago’s Goodman Theater, told Chicago magazine in 2014. “Over the years I’ve seen actors like Al Pacino and Dustin Hoffman and Robert Duvall play that part, and no one has ever played it the way Mike Nussbaum did. There was a Chicago quality to it in its voice, in terms of attitude, a sense of pathos and danger that he brought to it that’s never been really equaled.”

When Mr. Mamet’s “Glengarry Glen Ross,” another tale of desperate hustlers, opened on Broadway in 1983, Mr. Nussbaum, along with fellow Chicagoan Joe Mantegna, were cast as two of the play’s striving, venal real estate agents. Mr. Mantegna earned a Tony for his role as the slick Ricky Roma; Mr. Nussbaum won a Drama Desk Award for his role as George Aaronow, a beaten-down salesman with a nascent conscience; and the play would win Mr. Mamet the Pulitzer Prize in drama.

“There’s particular heroism in Mike Nussbaum, whose frightened eyes convey a lifetime of blasted dreams,” Frank Rich wrote in his review for The New York Times. “and in Joe Mantegna, as the company’s youngest, most dapper go-getter.”

The pair had performed years earlier in Mr. Mamet’s “A Life in the Theater,” a slight but biting two-man play about a young actor and an older one, goading and guiding each other, ego to ego. Mel Gussow of The Times praised the their performances as effortless. “As the cynical old poseur, Mr. Nussbaum is a Jack Gilford with a touch of John Barrymore,” he wrote.

Mr. Mantegna, speaking by phone, said that Mr. Nussbaum was “the role model for what everyone considers the Chicago actor.”

“He wasn’t doing it for the end game,” Mr. Mantegna said. “In New York, there’s an end game: Maybe I’ll get to Broadway, get a shot at TV. It’s an industry. L.A. is an industry. In Chicago it was never an industry, we were doing it for the love of doing it.”

He recalled Broadway producers urging Mr. Mamet to cast “Glengarry Glen Ross” with stars, and Mr. Mamet pushing back. “He said, ‘I’m going to do it with my kind of guys.’ Then there we were, this pack of unknowns, doing what would ultimately win the Pulitzer Prize.”

Then Mr. Nussbaum walked away from it all.

B.J. Jones, artistic director of the renowned Northlight Theater, in Skokie, Ill., which Mr. Nussbaum helped found in the 1970s, phoned Mr. Nussbaum during his run on Broadway to ask him to play the lead in a work by the English playwright Simon Gray.

Mr. Nussbaum called out to his wife at the time, Annette, for advice. “Do it,” she said. “I’m tired of New York.”

“Mike left Broadway to perform in a play for which we probably paid him a few hundred bucks,” Mr. Jones continued. “And when he did, they were scalping tickets in the lobby to see him. He was a Broadway star but he came home.”

As Mr. Mantegna said, “We were on the carousel, and there was the brass ring and he could have grabbed it, but he decided he liked the carousel.”

A slight man with a bushy mustache, Mr. Nussbaum could seemingly play anybody: He was a fierce Shylock in “The Merchant of Venice” and a bawdy witch in “Macbeth,” two of his many roles for the Chicago Shakespeare Theater. He also worked steadily in film and television. He was a pompous school principal in “Field of Dreams,” the 1989 baseball fantasy starring Kevin Costner, and a chillingly gentle jewelry store owner in “Men in Black,” the 1997 sci-fi comedy with Tommy Lee Jones and Will Smith.

“Mike was the consummate ensemble player,” Mr. Jones said. “And he had an inherent warmth that infused all his characters.”

Mike Nussbaum was born Myron G. Nussbaum on Dec. 29, 1923, in New York City, and grew up in Chicago. His father, Philip Nussbaum, was a fur wholesaler; his mother, Bertha (Cohen) Nussbaum, was a homemaker. Mike was a skinny, unhappy child, beaten and demeaned by his father, “a man I did not admire,” he told Chicago magazine.

He was 9 and at summer camp when he discovered acting,though he froze during his first performance and had to be carried off the stage. He attended the University of Wisconsin before dropping out and enlisting in the Army during World War II.

He worked as a Teletype operator in France, first in Versailles and then Reims, and was on duty on May 7, 1945, the day of the German surrender. He sent out the announcement declaring the end of the war in Europe, signing it not with his initials, as was customary, but with his full surname. He kept a framed copy as a memento.

He returned to Chicago in 1946 and married Annette Brenner, who later worked in public relations for the American Civil Liberties Union and elsewhere. He went into the exterminating business because he wanted a home, a family and a stable life, which he knew he couldn’t have as a professional actor. “I wanted the American dream,” he said.

His first wife died in 2003. In addition to his daughter Karen, Mr. Nussbaum is survived by his son, Jack, a writer and activist; his second wife, Julie (Brudlos) Nussbaum; seven grandchildren and eight great-grandchildren. Another daughter, Susan, a playwright, novelist and disability activist, died last year.

“I’m lucky: Chicago has given me chances that I don’t think I would have gotten in New York,” Mr. Nussbaum told Patrick Healy of The New York Times in 2014. “There’s no real fame here, not like in New York. And your salary doesn’t go up when you win a Jeff” — otherwise known as The Joseph Jefferson Award, an honor given to the theater arts in Chicago — “not like when you win a Tony. But I’ve gotten steady work, great work, and all I ever wanted to do was act.”

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