Jannah Theme License is not validated, Go to the theme options page to validate the license, You need a single license for each domain name.
USA

extremism of having a good time

Receive free updates on life and art

George Michael and Andrew Ridgely on stage in 1984 © Redferns

There are Parisian restaurant menus from the winter of 1870, sometimes circulated online. The city has been under Prussian siege for 99 days. food is in short supply. So, dear patrons, try the donkey head stuffed animal. again “Le chat flanque de ratAnd don’t waste your elephant consommé, hard-earned beasts, but there are people out there starving.

Let’s cross-reference this living hell with art from that time and place. Degas’ work includes a “dancing class” in which several girls are rehearsing a ballet at the Paris Opera. From Renoir’s “The Strolling Couple”. By 1872, when the painters had time to process the trauma of defeat and occupation, Monet feeds a woman seated among lilacs in Spring. Sisley builds some great bridges. Rarely has a group of artists missed a grand opportunity to reflect on such a dire situation. Given the context, the piece is frivolous. It is also eternal.

The Impressionists saw no intrinsic value, aesthetic, moral, or intellectual, in suffering. Is our age equally clear-thinking? The new openness about mental illness, the removal of stigma from it, is the most beneficial cultural change in the last decade or so. Less essential is what Martin Amis called “one-downmanship,” a kind of competitive passivity. It is in the boom of confessional literature. It’s in a wall-to-wall mental bubble. As a good-natured chauvinist, I tend to think that the democratic world’s reputation as “decadent” is downright slanderous. And now it turns out that there is advice on how to “break up” with friends.

Putting Degas and George Michael in line is dangerous. But here we go.For various reasons, the new Netflix documentary about Wham! Well worth the time. Some retouched footage from the 1980s stimulates the optic nerve. At least for those who aren’t hardcore fans of the group, it’s refreshing news.

But the film’s ultimate value is its warning that it’s easy to mistake joy for emptiness and suffering for depth.The most hilarious non-manufactured pop acts of all time (their debut album was wonderful) infuriated critics. When the duo shot the video in Ibiza, a group of miserable indie boredoms on television lamented their shallowness and covert Thatcherite materialism. It doesn’t help that Andrew Ridgely is the most vivacious person ever to thrive in the neurotic den called the creative industry.

Forty years later, it’s more obvious who was shallow and it wasn’t Wham! Critics allowed the group’s ostensible hedonism, Italian sportswear, to obscure the melodic virtuosity, wit (“Death by Marriage”), and the nerves that would have taken to commit “Careless Whisper” to music. August America Producer Despite being three times their age, he decided his recordings weren’t good enough. The sorting effect of time is said to be the closest thing to a universal test of what is good and what is not in art. Well, Ridgely is too mild-mannered to spell it out in his voiceover, but there’s no Netflix doc about lazy contemporaries in his group, right? And which one is older after the 1980s?last christmas‘, or the idea that Morrissey is an intellectual?

One-downmanship is not only incapable of guaranteeing artistic value or psychological insight. It’s not even destructive. The opposite way of life can be a true counterculture. Wham! The documentary suffers from not delving deeper into dark matter (most evidently Michael’s shortened lifespan), but it would be in tune with everything else out there. It would also obscure Wham!’s belief that something of lasting value can be created from the joy principle, or even the “precepts.” You can enjoy looking at this world without being quirky.

Incidentally, both members of this duo are the sons of immigrants. For wealthy nations, nothing is more exhilarating than something relatively new. Nothing helps us see through the deceptive nobility of modern anxiety like the lore of family hardship. Of course, at no point in the film does either man take anything that serious.

janan.ganesh@ft.com

Summarize this content to 100 words Receive free updates on life and artI will send myFT Daily Digest E-mail summarizing the latest information life and art News every morning.George Michael and Andrew Ridgely on stage in 1984 © RedfernsThere are Parisian restaurant menus from the winter of 1870, sometimes circulated online. The city has been under Prussian siege for 99 days. food is in short supply. So, dear patrons, try the donkey head stuffed animal. again “Le chat flanque de ratAnd don’t waste your elephant consommé, hard-earned beasts, but there are people out there starving.Let’s cross-reference this living hell with art from that time and place. Degas’ work includes a “dancing class” in which several girls are rehearsing a ballet at the Paris Opera. From Renoir’s “The Strolling Couple”. By 1872, when the painters had time to process the trauma of defeat and occupation, Monet feeds a woman seated among lilacs in Spring. Sisley builds some great bridges. Rarely has a group of artists missed a grand opportunity to reflect on such a dire situation. Given the context, the piece is frivolous. It is also eternal.The Impressionists saw no intrinsic value, aesthetic, moral, or intellectual, in suffering. Is our age equally clear-thinking? The new openness about mental illness, the removal of stigma from it, is the most beneficial cultural change in the last decade or so. Less essential is what Martin Amis called “one-downmanship,” a kind of competitive passivity. It is in the boom of confessional literature. It’s in a wall-to-wall mental bubble. As a good-natured chauvinist, I tend to think that the democratic world’s reputation as “decadent” is downright slanderous. And now it turns out that there is advice on how to “break up” with friends.

Critics allowed Wham!’s ostensible hedonism and Italian sportswear to obscure their melodic skill and wit.

Putting Degas and George Michael in line is dangerous. But here we go.For various reasons, the new Netflix documentary about Wham! Well worth the time. Some retouched footage from the 1980s stimulates the optic nerve. At least for those who aren’t hardcore fans of the group, it’s refreshing news. But the film’s ultimate value is its warning that it’s easy to mistake joy for emptiness and suffering for depth.The most hilarious non-manufactured pop acts of all time (their debut album was wonderful) infuriated critics. When the duo shot the video in Ibiza, a group of miserable indie boredoms on television lamented their shallowness and covert Thatcherite materialism. It doesn’t help that Andrew Ridgely is the most vivacious person ever to thrive in the neurotic den called the creative industry.Forty years later, it’s more obvious who was shallow and it wasn’t Wham! Critics allowed the group’s ostensible hedonism, Italian sportswear, to obscure the melodic virtuosity, wit (“Death by Marriage”), and the nerves that would have taken to commit “Careless Whisper” to music. August America Producer Despite being three times their age, he decided his recordings weren’t good enough. The sorting effect of time is said to be the closest thing to a universal test of what is good and what is not in art. Well, Ridgely is too mild-mannered to spell it out in his voiceover, but there’s no Netflix doc about lazy contemporaries in his group, right? And which one is older after the 1980s?last christmas’, or the idea that Morrissey is an intellectual?

Recommended

One-downmanship is not only incapable of guaranteeing artistic value or psychological insight. It’s not even destructive. The opposite way of life can be a true counterculture. Wham! The documentary suffers from not delving deeper into dark matter (most evidently Michael’s shortened lifespan), but it would be in tune with everything else out there. It would also obscure Wham!’s belief that something of lasting value can be created from the joy principle, or even the “precepts.” You can enjoy looking at this world without being quirky.Incidentally, both members of this duo are the sons of immigrants. For wealthy nations, nothing is more exhilarating than something relatively new. Nothing helps us see through the deceptive nobility of modern anxiety like the lore of family hardship. Of course, at no point in the film does either man take anything that serious.janan.ganesh@ft.com
https://www.ft.com/content/f406635c-254e-4d30-b9f4-0ba2ed8f93b2 extremism of having a good time

Back to top button