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The unhappy irony is that, while 'Glee' is hitting the heights, school arts funding is being slashed across the country due to the steep recession and declining tax revenues.

James Wolcott

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James Wolcott
Age: 72
Born: 1952
Born: December 10
Journalist
Novelist
New York City
New York
Art
Hitting
Revenues
School
Irony
Recession
Country
Dues
Glee
Height
Recessions
Arts
Steep
Unhappy
Heights
Across
Funding
Slashed
Taxes
Revenue
Declining

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I understand that one of the purposes of bipartisanship is to cram something difficult and necessary down the American people's gullets for which neither party has the fortitude to assume full responsibility. It's a way of turning a possible gangplank into a teeter-totter.
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And what could be a hotter ticket than the improbable triumph of 'The Book of Mormon,' the musical-comedy moon shot of the season? Its creators, Matt Stone and Trey Parker, of Comedy Central's 'South Park,' are the most unlikely Rodgers and Hammerstein team ever to bowl a thundering strike.
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Even the most piddling life is of momentous consequence to its owner.
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Everyone is entitled to his own nostalgia.
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The advent of DVD/Blu-ray reissues of classic Hollywood and foreign films has been a boon to film buffs, who can now study their favorites in all their glistening detail and restored palettes.
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With 'Black Swan,' the ballerina saga flips its tiara and goes on a hallucinatory bender, a scary acid trip where transfiguration and disfiguration meet.
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My high-school papers, my college-application essays, read like Norman Mailer packed in a crunchy-peanut-butter sandwich.
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I've always stayed on the periphery of things. When I used to go to the punk clubs and things like that, I was never up front. I always wanted to be in the back, or on the side, because I wanted to get the whole view, rather than be staring up at someone's nostrils.
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Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
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Like 'Twin Peaks,' '24,' 'Mad Men,' and 'The Sopranos' before it, 'Downton Abbey' enriches the iconography and collective lore of pop culture. It replenishes the stream.
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What had brought me to New York in the autumn of 1972 was a letter of recommendation written by Norman Mailer, the author of 'The Naked and the Dead' and American literature's leading heavyweight contender, to Dan Wolf, the delphic editor of 'The Village Voice.'
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'Hairspray' was a movie turned Broadway musical turned Hollywood remake, and that is the 'Lion King' circle of life as we know it in Times Square, the creative loop that swings for the stars and sometimes crashes into the upper deck.
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I understand the people-watching, but I've never done it where people have to race to three different shows, from here to there. I mean, the biggest zoo I ever faced was Comic Con, and Comic Con takes place in one big hangar.
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People want somebody to be a daredevil, even if they're not going to be a daredevil themselves.
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Broadway purists may deplore the influx of movie-spinoff musicals in recent years, wishing someone would turn off the popcorn machine and let more imaginative brainstorms blow through.
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It isn't that NPR is matriarchal but that it has dedicated itself to not being patriarchal in its outlook and presentation, stipulating from the outset that its headline voices would not resound across the fruited plains from big male bags of air sent from Mount Olympus.
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What a turnaround in sentiment 'Glee' exemplifies. It was only a few years ago that pursuing the dream of a Broadway career or cabaret stardom relegated some poor yearning dope to a lavender ghetto of losers, self-deluders, and social rejects.
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High expectations weren't nurtured in my neck of nowhere back then - children weren't fawned over from an early age as 'gifted' and groomed for a prizewinning future self-esteem was considered something you had to pick from the garden yourself.
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As we divest ourselves of once familiar physical objects - digitize and dematerialize - we approach a 'Star Trek' future in which everything can be accessed from the fourth dimension with a few clicks or terse audibles.
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In the voyeurism of Reality TV, the viewer's passivity is kept intact, pampered and massaged and force-fed Chicken McNuggets of carefully edited snippets that permit him or her to sit in easy judgment and feel superior at watching familiar strangers make fools of themselves. Reality TV looks in only one direction: down.
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