A lot of talented jazz musicians in the 1930's couldn't buy a drink in the places they played. They were the African-American musicians who helped create the era's signature sound — but still had to live under the sting of segregation. Unless they went elsewhere.
Author Nicole Mones' new Night in Shanghai centers on classcially trained Baltimore pianist Thomas Greene, who's recruited to play jazz — a music that's new to him — in a new place: not Harlem, or the south side of Chicago, or even Paris, but Shanghai.
In the late '70s American drummer Stewart Copeland was living in England and joined up with guitarist Andy Summers and a singer named Sting. They formed a band called The Police, and then basically provided the soundtrack for the 1980s. Since then, Copeland has scored movies, theater performances and occasionally gotten the old band together again.
We've invited Copeland to play a game called "You have the right to wonder what the heck I'm doing." Three questions about questionable police tactics.
Wes Anderson has his share of groupies and his somewhat smaller share of skeptics who find him a tad precious. As someone who leans toward the precious view, but is open to his grace notes, I found The Grand Budapest Hotel mostly delightful.
It's a madcap comedy, but with hints of tragedy lurking outside the usual Anderson dollhouse frames. The central character is Gustave H., played by Ralph Fiennes. He's the concierge of a kitschy, opulent, high-class European hotel between World Wars I and II.
The art show everyone loves to hate opens today in New York City. Every two years, the Whitney Museum of American Art hosts a show that's billed as an overview of art in America. The Whitney Biennial inevitably gets trashed by art critics, museum visitors and artists alike. As Karen Michel reports, this is the last biennial before the museum moves to a new building.