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At a Brooklyn Cold Summit, Taking Joy in the Wintry Wind

Robert Sullivan measured wind velocity on Thursday in the middle of the street at the corner of Montague and Court Streets in downtown Brooklyn, which he believes to be the windiest spot in New York.Todd Heisler/The New York Times Robert Sullivan measured wind velocity on Thursday in the middle of the street at the corner of Montague and Court Streets in downtown Brooklyn, which he believes to be the windiest spot in New York.

It is 16 degrees and sunny at the corner of Court and Montague Streets in downtown Brooklyn. The wind is coming from the northwest at nine miles an hour. We will now call to order the cold summit: Two bundled-up men who are passionate about the weather, two wind gauges and one extremely bright, extremely cold Thursday.

Like prizefightes coming out of their corners, the men shake hands on the plaza behind the State Supreme Court building. One is Robert Sullivan, an author who has written about the wind in this very place. Wind vortexes He knows all about them. He has watched the trash go swirling down the plaza â€" not as singable as Rodgers and Hammerstein’s lyric about “when the wind comes sweeping down the plain.”

But that was “Oklahoma!,” which had an exclamation point. This is Brooklyn, which does not. And Mr. Sullivan is fonder of a line from Henry David Thoreau: “The wind th! at blows is all that anybody knows.”

The other participant in the cold summit is Stephen Fybish, a self-made weather obsessive, sometimes to the irritation of forecasters and reporters who write about heat waves and cold snaps, because he makes a point of pointing out their mistakes. He arrives at the cold summit with a list of the coldest January days over the last 20 years and is soon quoting from “Poor Richard’s Almanack”: “Some are weatherwise, some are otherwise.”

They are not trained as scientists, these two, but they are weatherwise. The day’s forecast is for biting winds, but Mr. Sullivan says it is early yet. The wicked, chapping gusts are not expected until afternoon. He looks at the wind gauges. “Nothing,” he says.

But Court Street is calling him. The middle of Court Street. He knows the local wind patterns and knows that is wher the wind swirls up. He steps off the curb, wind gauges held high. He crosses in front of a bus. The wind gauges twirl. The bus driver honks. The wind picks up.

“I think of wind in terms of water, and I think of Cadman Plaza as a place where there’s whitewater,” Mr. Sullivan said. “We have this wind coming off the East River, and Robert Moses got rid of Walt Whitman’s neighborhood of crannied streets, and what was left was a steppe. And the wind smacks against Borough Hall. If you watch the trash blowing around, it circles like something in ‘Fantasia.’” That is the 1940 animated Disney film in which Mickey Mouse, as the sorcerer, was outwitted by a broomstick in “The Sorcerer’s Apprentice.”

Others dread the Brooklyn wind Mr. Sullivan knows. Alok Subedi, selling cheese at a table in the plaza, reflects on his native Nepal and on other places he sets up his table. “It’s cold in Nepal, but the wind gusts give you more cold here,” he says, “and Union Square is wi! ndy, but ! not like this.”

Mr. Fybish keeps exhaustive notes on weather phenomena.Todd Heisler/The New York Times Mr. Fybish keeps exhaustive notes on weather phenomena.

By then the cold summit had moved to a restaurant on Montague Street called, appropriately enough, Grand Canyon, and the conversation had gone off on tangent after tangent. About weather personalities on television. (Mr. Sullivan likes Janice Huff on WNBC-TV. Mr. Fybish, to the extent that he likes any forecaster, favors Nick Gregory on WNYW-TV.)

About carting home books of weather statistics when the National Weather Service threw them out. (Mr. Fybish didthat, when the weather service had an office in Rockefeller Center.)

Mr. Sullivan had a question for Mr. Fybish: “Did you know David Ludlum”

Mr. Fybish’s face lit up. Mr. Ludlum founded Weatherwise magazine.

“The only meteorologist to have a battle named after him,” Mr. Sullivan said. (Allied strategists planning an assault on a German installation at Monte Cassino, Italy, turned to him for advice on when the weather would be right. On his say-so, they waited nearly three weeks. He relented on Feb. 14, 1944, and the attack began the following day.)

“I sent him some of my research, and he sent me a very nice note: ‘Looks like you’re the real McCoy,’” Mr. Fybish said. (Mr. Ludlum died in 1997.)

Mr. Sullivan brought up the brutal winter of 1779-1780, when he said, the colonial army â€! œplayed d! efense” in the Watchung mountains in New Jersey.

“It’s not the place where we win the war, but where we don’t lose the war,” said Mr. Sullivan, who wrote about that winter in his book “My American Revolution.” “They held the Watchung mountains, and thus the U.S. exists. Valley Forge was nothing compared to what the troops went through that winter. It was probably the worst winter we’ve ever had.”

It is still 16 degrees and sunny at the corner of Court and Montague Streets in downtown Brooklyn, and the wind is still coming from the northwest at nine miles an hour. We will now adjourn the cold summit. Let the record show that not one word was said about whether it is going to snow on Friday, or that spring begins in 54 days.

Alok Subedi, a Queens resident who is originally from Nepal, tried to stay warm on Thursday as he sold dairy products at a stand in Cadman Plaza in downtown Brooklyn. Todd Heisler/The New York Times Alok Subedi, a Queens resident who is originally from Nepal, tried to stay warm on Thursday as he sold dairy products at a stand in Cadman Plaza in downtown Brooklyn.


J.J. Abrams to Direct Next \'Star Wars\' Movie

Despite his public declaration a few weeks ago that he was not interested, J.J. Abrams will direct the next “Star Wars” chapter after all.

An official announcement about the hiring of Mr. Abrams is expected to come later Thursday from Walt Disney Studios and its Lucasfilm unit, according to a person with knowledge of the matter, who asked for anonymity to avoid conflict with the studios. A script for the movie is still being written by Michael Arndt (“Little Miss Sunshine”), and the film is expected to be released in 2015.

Mr. Abrams has long been popular with the science fiction crowd; his next movie is “Star Trek Into Darkness,” set for release by Paramount Pictures in May. His decision to tackle “Star Wars,” which was first reported by the Hollywood news blog theWrap.com, comes as a surprise, however, because he told Entertainment Weekly in November that he wasn’t interested in the job. “I have some original stuff I am working on next,” he said then.

Disney bough Lucasfilm in late October for $4 billion, thus acquiring the rights to the hugely successful “Star Wars” franchise. It immediately said it would make a seventh film in the series.



Just So You Know: \'John Dies at the End\'

Who needs a time machine when you have Soy Sauce

That’s the street drug with trans-dimensional properties that fuels “John Dies at the End,” a new film written and directed by Don Coscarelli and based on the novel by David Wong (a pseudonym for Jason Pargin). The film, which opens in New York on Feb. 1, is about two slackers, John (Rob Mayes) and David (Chase Williamson), who discover that Soy Sauce has the power to bring about not only otherworldly travel but also monsters, and possibly the end of the universe.

“The fate of humanity falls in their lap,” explained Mr. Coscarelli. “It’s got a wicked sense of humor.”

Mr. Coscarelli is best known to horror fans as the director of “Phantasm,” a dimension-bending 1979 horror film that starred Angus Scimm as an evil undertaker who enlists dwarf zombies in his quest for world domination. Earlier this month at 92Y Tribeca, Mr. Coscarelli attended a sold-out screening of “John Dies at the End” and “Phantasm,” which has become a cult favorite â€" as has its three sequels â€" among horror and sci-fi aficionados. (His 2002 horror comedy “Bubba Ho-Tep,” about a mummy terrorizing a nursing home where Elvis lives, also has its fans.)

“I hadn’t seen ‘Phantasm’ in many years, and it was almost this grindhouse-level print,” he said of the screening. “It was great to revisit it in that fashion.”

Mr. Coscarelli recently spoke with Erik Piepenburg about his new film. Following are edited excerpts from the conversation.

Q.

I read that you first heard of “John Dies at the End” in a pretty random way.

A.

I ! got a robot e-mail from Amazon that said if I liked this zombie fiction book that I wanted from this little publisher named Permuted Press that I would love “John Dies at the End.” I bought about two or three different zombie novels that day so I can’t recall which one gave me that suggestion. I bought the thing and read it immediately. The book had some amazing concepts of a sentient drug that chooses you. It was so innovative and creative and hide-under-the-bed scary on one page and laugh-out-loud funny on the other. I got in touch with the author and was able to secure the rights.

Q.

What’s the story

A.

In this town there are two guys, Dave and John, traditional slackers, and they encounter this drug that allows users to drift between dimensions. They find themselves involved in a conspiracy that seems to be channeled through their town in order to dominate the planet and the universe. It ask what’s real, what’s not and what’s fantasy, and has characters grapple with those types of questions.

Don Coscarelli at the Toronto International Film Festival in 2012.Jemal Countess/Getty Images Don Coscarelli at the Toronto International Film Festival in 2012.
Q.

It sounds like there are elements of horror and comedy in “John Dies at the End.” How do you think the two go hand in hand

A.

The immediate similarity is that when you have a truly shocking moment of terror or surprise in a movie, audiences always respond with a laugh afterwards. For “John Dies,” the source novel and movie keep you so off-balanced that there are moments when you don’t know whether you should be laughing or screami! ng. In bo! th horror and comedy you take the audience toward something that’s unknown, and the reveal of that unknown is either going to be a punch line or a shock.

Q.

You got Paul Giamatti, an Oscar nominee, to star in “John Dies at the End” as a reporter who learns about Soy Sauce. How did you make that happen

A.

I had met Paul a few years previous, and we had tried to put another project together but that didn’t work out. Paul had been a fan of my film “Bubba Ho-Tep,” so we were looking for something strange and horrific to do together. I gave [him] a copy of the script and he said let’s do it.

Q.

What was it like to see “Phantasm” in a room full of what I’m guessing were major fans

A.

[Laughs] The fact that the thing spawned this cult of fans is stunning. It was made on such modest means so many years ago. The goal was to get it finished and out. What’s cool is I’ve ben to some horror conventions with Angus, and it’s interesting how this man, or this character, that seemed to terrorize so many people, there are still people who are eager to meet him. And when they meet him he’s so kind, they want to hug him and take their photo with him.

Q.

Why do you think “Phantasm” has maintained such a following

A.

On one level it’s an empowerment for 12- and 13-year-old males. Today all these 40- and 45-year-old guys tell me that it’s a movie they never forgot. In a larger sense it’s a movie that examines death, something that everyone relates to and many fear. I think the fact that it’s an exploration into the nooks and crannies of the American funeral process allows audiences to investigate that and experience their own death and come out of it at the end alive and O.K.

Q.

Was there a film from your childhood that had an impact on you in the same way

A.!

There was this film on TV called “Invaders From Mars.” It’s what I emulated in “Phantasm” in some ways. It’s about a young boy dealing with some strange things, and no one believes him. Maybe nobody believed me when I was a kid.



Just So You Know: \'John Dies at the End\'

Who needs a time machine when you have Soy Sauce

That’s the street drug with trans-dimensional properties that fuels “John Dies at the End,” a new film written and directed by Don Coscarelli and based on the novel by David Wong (a pseudonym for Jason Pargin). The film, which opens in New York on Feb. 1, is about two slackers, John (Rob Mayes) and David (Chase Williamson), who discover that Soy Sauce has the power to bring about not only otherworldly travel but also monsters, and possibly the end of the universe.

“The fate of humanity falls in their lap,” explained Mr. Coscarelli. “It’s got a wicked sense of humor.”

Mr. Coscarelli is best known to horror fans as the director of “Phantasm,” a dimension-bending 1979 horror film that starred Angus Scimm as an evil undertaker who enlists dwarf zombies in his quest for world domination. Earlier this month at 92Y Tribeca, Mr. Coscarelli attended a sold-out screening of “John Dies at the End” and “Phantasm,” which has become a cult favorite â€" as has its three sequels â€" among horror and sci-fi aficionados. (His 2002 horror comedy “Bubba Ho-Tep,” about a mummy terrorizing a nursing home where Elvis lives, also has its fans.)

“I hadn’t seen ‘Phantasm’ in many years, and it was almost this grindhouse-level print,” he said of the screening. “It was great to revisit it in that fashion.”

Mr. Coscarelli recently spoke with Erik Piepenburg about his new film. Following are edited excerpts from the conversation.

Q.

I read that you first heard of “John Dies at the End” in a pretty random way.

A.

I ! got a robot e-mail from Amazon that said if I liked this zombie fiction book that I wanted from this little publisher named Permuted Press that I would love “John Dies at the End.” I bought about two or three different zombie novels that day so I can’t recall which one gave me that suggestion. I bought the thing and read it immediately. The book had some amazing concepts of a sentient drug that chooses you. It was so innovative and creative and hide-under-the-bed scary on one page and laugh-out-loud funny on the other. I got in touch with the author and was able to secure the rights.

Q.

What’s the story

A.

In this town there are two guys, Dave and John, traditional slackers, and they encounter this drug that allows users to drift between dimensions. They find themselves involved in a conspiracy that seems to be channeled through their town in order to dominate the planet and the universe. It ask what’s real, what’s not and what’s fantasy, and has characters grapple with those types of questions.

Don Coscarelli at the Toronto International Film Festival in 2012.Jemal Countess/Getty Images Don Coscarelli at the Toronto International Film Festival in 2012.
Q.

It sounds like there are elements of horror and comedy in “John Dies at the End.” How do you think the two go hand in hand

A.

The immediate similarity is that when you have a truly shocking moment of terror or surprise in a movie, audiences always respond with a laugh afterwards. For “John Dies,” the source novel and movie keep you so off-balanced that there are moments when you don’t know whether you should be laughing or screami! ng. In bo! th horror and comedy you take the audience toward something that’s unknown, and the reveal of that unknown is either going to be a punch line or a shock.

Q.

You got Paul Giamatti, an Oscar nominee, to star in “John Dies at the End” as a reporter who learns about Soy Sauce. How did you make that happen

A.

I had met Paul a few years previous, and we had tried to put another project together but that didn’t work out. Paul had been a fan of my film “Bubba Ho-Tep,” so we were looking for something strange and horrific to do together. I gave [him] a copy of the script and he said let’s do it.

Q.

What was it like to see “Phantasm” in a room full of what I’m guessing were major fans

A.

[Laughs] The fact that the thing spawned this cult of fans is stunning. It was made on such modest means so many years ago. The goal was to get it finished and out. What’s cool is I’ve ben to some horror conventions with Angus, and it’s interesting how this man, or this character, that seemed to terrorize so many people, there are still people who are eager to meet him. And when they meet him he’s so kind, they want to hug him and take their photo with him.

Q.

Why do you think “Phantasm” has maintained such a following

A.

On one level it’s an empowerment for 12- and 13-year-old males. Today all these 40- and 45-year-old guys tell me that it’s a movie they never forgot. In a larger sense it’s a movie that examines death, something that everyone relates to and many fear. I think the fact that it’s an exploration into the nooks and crannies of the American funeral process allows audiences to investigate that and experience their own death and come out of it at the end alive and O.K.

Q.

Was there a film from your childhood that had an impact on you in the same way

A.!

There was this film on TV called “Invaders From Mars.” It’s what I emulated in “Phantasm” in some ways. It’s about a young boy dealing with some strange things, and no one believes him. Maybe nobody believed me when I was a kid.



\'Manilow on Broadway\' Opening Postponed Because of Illness

Barry Manilow.

Barry Manilow canceled the opening night of his new show on Broadway on Thursday because of a chest infection. He also postponed the shows scheduled for Friday and Saturday.

“It turns out the only thing worse than hell and high water is bronchitis,” the producers of “Manilow on Broadway” said in a statement. “Barry is deeply sorry to disappoint his fans and is doing everything he can to ensure a speedy recovery.” The show will resume scheduled performances on Tuesday, the producers said.

Bronchitis has played havoc with Mr. Manilow’s much-ballyhooed return to Broadway, his first performances there since a series of concerts in 1989. Th 69-year-old master of the pop-song idiom had to cancel a preview performance on Wednesday, and now vocal problems have compelled him to reschedule the first three shows of the limited engagement at the St. James Theater.

The Thursday, Friday and Saturday shows have been rescheduled five weeks hence, to Feb. 28, March 1 and March 2.



Benjamin Millepied Answers Questions About His New Post With Paris Opera Ballet

PARIS â€" The journalists who arrived this morning at the Palais Garnier for the news conference introducing Benjamin Millepied as the new director of dance at the Paris Opera were ushered into the grandly proportioned office of its general director, Nicolas Joel. “I am sure that Serge Lifar came in frequently through this door to demand more for his ballet company,” he said. Then he looked at Brigitte Lefèvre, who has directed the Paris Opera Ballet since 1995. “It’s a tradition that has continued.”

When Ms. Lefèvre retires in 2014, tradition will be in the hands of Mr. Millepied, the 35-year old choreographer and former New York City Ballet principal dancer, who was today formally confirmed as the company’s new director, to the surprise of many who expected a Paris Opera insider to get the job. Mr. Joel, speaking first, warmly praised Ms. Lefèvre for raising the stanard of the company and vastly broadening its repertoire, then added appreciation for Laurent Hilare, a former etoile who is Ms. Lefèvre’s deputy and who was considered a likely candidate.

“To be polite, we call ourselves ‘one of’ the best companies in the world,’ ” he said. “We are the best company in the world.”
Then Stephane Lissner, the incumbent general director who will take over from Mr. Joel in 2015, and who seems to have largely determined the choice of the new head of dance, took over. Mr. Lissner, who now heads La Scala, was brief, saying merely that he had met with nine candidates and that he had very quickly found a lively artistic rapport with Mr. Millepied, and a joint interest in a closer collaboration between the opera and dance departments.

Mr. Millepied seemed composed, if slightly nervous. As well he might have been, facing a room of French journalists to whom he is not just “Not From the Paris Opera,” but more or less an American since he mov! ed to New York at 16 to attend the School of American Ballet and spent his subsequent dancing career with City Ballet.

“This is an unexpected honor, a long-held dream,” he began. He set forth his ideas in general terms: to support Ms. Lefèvre’s policy of bringing contemporary choreographers to work with the Opera, but to focus strongly on new classical work. “I am passionate about ballet,” he said. “I want to see that technique being used and evolving.”

Mr. Millepied spoke also of his ambitions to create a structure to encourage would-be choreographers that sounded rather like City Ballet’s Choreographic Institute. “Artists study drawing; musicians study compositions; only choreographers are left alone to learn their craft,” he said.

“Ben, you are young,” Ms. Lefèvre said. ‘That will sort itself out.”

The questions from journalists were on the polite side. What did he think about the Nureyev versions of the big classical bllets that the Opera performs (Part of the Opera’s tradition, he’ll keep them. At least for now.) Will he bring an entourage (No.) How exactly would opera and ballet be linked (No concrete details revealed yet.) How long was his contract for (Open-ended.) And then, the question that everyone wanted to ask. Why had Mr. Lissner chosen an outsider Mr. Lissner dismissed the insider/outsider dichotomy, saying it was the vision of the candidate that mattered.

To everyone’s delight, Mr. Millepied’s wife, the actress Natalie Portman, was waiting outside after the conference. They embraced and went off with the full complement of directors to endorse another venerable French tradition: a good lunch.



McKellen and Stewart Will Bring Pinter and Beckett to Broadway in the Fall

Patrick Stewart, left, with Ian McKellen in 2006.Jeff Christensen/Associated Press Patrick Stewart, left, with Ian McKellen in 2006.

The theater and film stars Ian McKellen and Patrick Stewart, known for their chemistry in the “X-Men” films as friends-turned-foes Magneto and Professor Xavier, will return to Broadway together in the fall for an unusual two-play repertory of Harold Pinter’s “No Man’s Land” and Samuel Beckett’s “Waiting for Godot,” the producers announced on Thursday.

Directed by a fellow Englishman, Sean Mathias, the two plays - both bleakly funny existential classics by Nobel Prize-wining writers â€" will run in rotation, sometimes on adjacent nights and possibly on the same days as matinee and evening performances. Suchrepertory schedules are fairly common in British theater but rare on Broadway; the three-play cycle of “The Norman Conquests” played in repertory in 2009 and the three parts of “Coast of Utopia” ran during the 2006-07 season, but those productions mostly featured actors sticking to the same roles.

By contrast, Mr. Stewart will play Vladimir in “Godot” and Hirst in “No Man’s Land” while Mr. McKellen will play opposite him as Estragon in “Godot” and Spooner in “No Man’s Land.” Additional casting for the plays will be announced later, as will the performance dates and theater.

Mr. Stewart was last on Broadway in 2010 in a critically drubbed production of “A Life in the Theater,” and prior to that in 2008 as the lead in “Macbeth,” for which he earned a Tony nomination. The plays mark the first time Mr. McKellen will be back on Broadway since “Dance of Death” during the 2001-2 season; he won a Tony Award for best actor in a play in 1981 for “Amadeus.”

Mr. Mathias, a Tony nominee in 1995 for “Indiscretions,” directed Mr. Stewart and Mr. McKellen in their roles in “Godot” in a London producton in 2009. The three men will prepare “No Man’s Land” this summer with a try-out production to be announced later.

“Godot” was last on Broadway in 2009 starring Bill Irwin and Nathan Lane, while “No Man’s Land” last ran in 1994 with Jason Robards and Christopher Plummer. Mr. Mathias, in a statement on Thursday, described the plays as natural companions.

“In ‘Waiting For Godot,’ two men exist in a universe that is both real and imagined - a place where time does not always advance towards a future. And as the two men wait, two outsiders enter to disrupt that universe,” he said. “In ‘No Man’s Land,’ two men inhabit a land that is neither here nor there - a land where time and memory play unreliable tricks. And as these two men converse, two other men who are both familiar and unfamiliar enter this same land with unnerving effect.”

The plays will be produced by Stuart Thompson (the current Broadway revival of “Cat on a Hot Tin Roof”) and NOMAN! GO Produc! tions, a consortium of British and American investors assembled for these plays.



McKellen and Stewart Will Bring Pinter and Beckett to Broadway in the Fall

Patrick Stewart, left, with Ian McKellen in 2006.Jeff Christensen/Associated Press Patrick Stewart, left, with Ian McKellen in 2006.

The theater and film stars Ian McKellen and Patrick Stewart, known for their chemistry in the “X-Men” films as friends-turned-foes Magneto and Professor Xavier, will return to Broadway together in the fall for an unusual two-play repertory of Harold Pinter’s “No Man’s Land” and Samuel Beckett’s “Waiting for Godot,” the producers announced on Thursday.

Directed by a fellow Englishman, Sean Mathias, the two plays - both bleakly funny existential classics by Nobel Prize-wining writers â€" will run in rotation, sometimes on adjacent nights and possibly on the same days as matinee and evening performances. Suchrepertory schedules are fairly common in British theater but rare on Broadway; the three-play cycle of “The Norman Conquests” played in repertory in 2009 and the three parts of “Coast of Utopia” ran during the 2006-07 season, but those productions mostly featured actors sticking to the same roles.

By contrast, Mr. Stewart will play Vladimir in “Godot” and Hirst in “No Man’s Land” while Mr. McKellen will play opposite him as Estragon in “Godot” and Spooner in “No Man’s Land.” Additional casting for the plays will be announced later, as will the performance dates and theater.

Mr. Stewart was last on Broadway in 2010 in a critically drubbed production of “A Life in the Theater,” and prior to that in 2008 as the lead in “Macbeth,” for which he earned a Tony nomination. The plays mark the first time Mr. McKellen will be back on Broadway since “Dance of Death” during the 2001-2 season; he won a Tony Award for best actor in a play in 1981 for “Amadeus.”

Mr. Mathias, a Tony nominee in 1995 for “Indiscretions,” directed Mr. Stewart and Mr. McKellen in their roles in “Godot” in a London producton in 2009. The three men will prepare “No Man’s Land” this summer with a try-out production to be announced later.

“Godot” was last on Broadway in 2009 starring Bill Irwin and Nathan Lane, while “No Man’s Land” last ran in 1994 with Jason Robards and Christopher Plummer. Mr. Mathias, in a statement on Thursday, described the plays as natural companions.

“In ‘Waiting For Godot,’ two men exist in a universe that is both real and imagined - a place where time does not always advance towards a future. And as the two men wait, two outsiders enter to disrupt that universe,” he said. “In ‘No Man’s Land,’ two men inhabit a land that is neither here nor there - a land where time and memory play unreliable tricks. And as these two men converse, two other men who are both familiar and unfamiliar enter this same land with unnerving effect.”

The plays will be produced by Stuart Thompson (the current Broadway revival of “Cat on a Hot Tin Roof”) and NOMAN! GO Produc! tions, a consortium of British and American investors assembled for these plays.



Critics of State\'s Campaign Finance Laws Seek Philanthropists\' Help

ALBANY - Advocates of overhauling New York’s campaign fund-raising laws met with 40 philanthropists in Manhattan on Thursday in an effort to enlist additional supporters as they ramp up their lobbying efforts.

The state attorney general, Eric T. Schneiderman, a Democrat who has moved to force the disclosure of more political donors, was among those who spoke to the group, and the Senate Democratic leader, Andrea Stewart-Cousins of Westchester County, addressed the gathering via video from Albany. The audience included representatives from the Kohlberg Foundation, the Mertz Gilmore Foundation, the Rockefeller Brothers Fund and the Open Society Foundations, which were founded by the billionaire financier George Soros.

The meeting was organized by the Piper Fund, which awards grants to support sate and national groups working on changing how campaigns are financed. The gathering came as supporters of setting up a system of public financing for state elections prepare to push for legislation to be enacted in this year’s session, which began last week and runs through June.

“New York would be by far the biggest victory to date,” said Marc Caplan, the senior program officer for the Piper Fund. “It’s the No. 1 priority for national organizations interested in fighting money in politics, and to the growing number of philanthropists who are interested in issue.”

A number of wealthy individuals have already started organizations to support the effort. They include one of Mr. Soros’s sons, Jonathan Soros, who attended Thursday’s meeting, and Sean Eldridge, an investor and political activist. The push in Albany is also being undertaken by a coalition that includes labor unions, progressive organizations, government reform groups and the Working Families Party.

The biggest opposition in Albany to using public money for political campaigns comes from Republican state senators. But Republicans lost seats in the last election and now have only partial control of the chamber; advocates of public financing hope that an independent faction of Democrats who share control of the Senate with the Republicans will force consideration of the issue in this year’s session.

Gov. Andrew M. Cuomo, a Democrat, also gave attention to the issue in his State of the State address on Jan. 9. He called for the state to adopt a system similar to the one used in New York City, where candidates can receive public matching funds in exchange for agreeing to spending limits. “It works well in New York City,” he said. “It will work well in New York State.”

Supporters of public financing of political campaigns are also celebrating the swearing-in of Senator Cecilia F. Tkaczyk, a Democrat who last week emerged as the winner of the last undecided state legislative race. Her campaign focused in large part on her support of public financing, which the Republican candidate opposed.

Jonathan Soros and Mr. Eldridge, who waged an independent-expenditure campaign to support Ms. Tkaczyk, interpreted her victory as evidence of ! the momen! tum for changing how campaigns are financed.



Critics of State\'s Campaign Finance Laws Seek Philanthropists\' Help

ALBANY - Advocates of overhauling New York’s campaign fund-raising laws met with 40 philanthropists in Manhattan on Thursday in an effort to enlist additional supporters as they ramp up their lobbying efforts.

The state attorney general, Eric T. Schneiderman, a Democrat who has moved to force the disclosure of more political donors, was among those who spoke to the group, and the Senate Democratic leader, Andrea Stewart-Cousins of Westchester County, addressed the gathering via video from Albany. The audience included representatives from the Kohlberg Foundation, the Mertz Gilmore Foundation, the Rockefeller Brothers Fund and the Open Society Foundations, which were founded by the billionaire financier George Soros.

The meeting was organized by the Piper Fund, which awards grants to support sate and national groups working on changing how campaigns are financed. The gathering came as supporters of setting up a system of public financing for state elections prepare to push for legislation to be enacted in this year’s session, which began last week and runs through June.

“New York would be by far the biggest victory to date,” said Marc Caplan, the senior program officer for the Piper Fund. “It’s the No. 1 priority for national organizations interested in fighting money in politics, and to the growing number of philanthropists who are interested in issue.”

A number of wealthy individuals have already started organizations to support the effort. They include one of Mr. Soros’s sons, Jonathan Soros, who attended Thursday’s meeting, and Sean Eldridge, an investor and political activist. The push in Albany is also being undertaken by a coalition that includes labor unions, progressive organizations, government reform groups and the Working Families Party.

The biggest opposition in Albany to using public money for political campaigns comes from Republican state senators. But Republicans lost seats in the last election and now have only partial control of the chamber; advocates of public financing hope that an independent faction of Democrats who share control of the Senate with the Republicans will force consideration of the issue in this year’s session.

Gov. Andrew M. Cuomo, a Democrat, also gave attention to the issue in his State of the State address on Jan. 9. He called for the state to adopt a system similar to the one used in New York City, where candidates can receive public matching funds in exchange for agreeing to spending limits. “It works well in New York City,” he said. “It will work well in New York State.”

Supporters of public financing of political campaigns are also celebrating the swearing-in of Senator Cecilia F. Tkaczyk, a Democrat who last week emerged as the winner of the last undecided state legislative race. Her campaign focused in large part on her support of public financing, which the Republican candidate opposed.

Jonathan Soros and Mr. Eldridge, who waged an independent-expenditure campaign to support Ms. Tkaczyk, interpreted her victory as evidence of ! the momen! tum for changing how campaigns are financed.



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Assembly Leader Softens on Placing Casino in New York City

Assembly Speaker Sheldon Silver spoke with reporters on Thursday in Albany.Nathaniel Brooks for The New York Times Assembly Speaker Sheldon Silver spoke with reporters on Thursday in Albany.

ALBANY â€" Assembly Speaker Sheldon Silver said Thursday that he was open to a Las Vegas-style casino in some parts of New York City, as he continued to soften his opposition to the idea of casino development within the five boroughs.

Mr. Silver, a Manhattan Democrat, said he remained opposed to a casino with table games in Manhattan, but would be open to the idea in other areas of the city, specifically naming Coney Island and Willets Point, as well as the Aqueduct racetrack â€" sites that he has reportedly been considering for some time.

He also sid Thursday that the Legislature wanted to have a say in the siting of any full-scale casinos, challenging a plan by Gov. Andrew M. Cuomo to put the power in the hands of a new gambling commission.

“The Legislature would like to have a role in geographic selection,” he said in comments outside his Albany office.

Mr. Silver has historically been the biggest opponent of casino gambling in New York City, and has been reluctant to consider casino development even on the city’s fringes. But his tone has been moderating over the last several months.

“I don’t believe densely populated areas of the state should have a casino,” Mr. Silver said. “I don’t believe that people should be able to go on their lunch hour and have the ability to lose a week or a month’s pay on their lunch hour, so we should look at destinations that are not in densely populated areas.”

“There are parts of the city that would qualify for that,” he added. “M! anhattan would not, for example. Central Brooklyn would not. Central Queens would not. But there are places that can qualify as destinations within the city, whether it’s Willets Point or Aqueduct or Coney Island.”

There are already nine racetrack slot parlors and five tribal casinos in New York. State lawmakers, acting at Mr. Cuomo’s urging, last year took the first step toward asking voters to allow up to seven full-scale, nontribal casinos in the state; the Legislature will consider the matter again this year, and if a measure passes, it will go before voters in November.

Mr. Cuomo said this month that he would propose phasing in expanded gambling, at first allowing the development of only three casinos, none of them in New York City, in an effort to lift the upstate economy. He has not said where he thinks casinos should be located after that first phase.

The casino industry has been eager to develop in New York because of its large population, concentrated wealth and high level f tourism. A slot parlor at the Aqueduct racetrack has already proved to be highly lucrative, both for the state and its operator; a full-scale casino would bring table games and even more revenue.

Mayor Michael R. Bloomberg has been resistant to the idea of a casino in New York City, but his third term ends this year, and he will most likely be out of office by the time the matter is decided.

Last year, Mr. Silver said of casino development: “I would prefer to stay out of the city, but certainly at best the fringes of the city, in order to avoid the social ills that come with casino gaming. I’m not a fan of casino gaming, and I think generally our conference is not a fan of casino gaming.”

But on Thursday, he seemed much more at ease with the idea of a casino in the city.

“I mentioned Willets Point because it’s basically a bunch of junkyards right now, and there’s some talk of revitalizing it,” he said.

“Aqueduct is again something that’s not in the de! nsely pop! ulated part of the city, Coney Island has a tradition of being a resort area to some extent; obviously it needs some revitalization to do it, but I say I wouldn’t rule those out.”



Jack White and Carrie Underwood Join Lineup of Grammy Performers

Jack White, Carrie Underwood and the Lumineers have been added to the lineup of performers for the Grammy Awards next month, the Recording Academy announced Thursday. All three acts are also nominated for awards.

Mr. White’s latest album,“Blunderbuss,” is in the running for album of the year; Ms. Underwood is nominated for best country solo performance and the Lumineers, the young folk-rock group from Denver that has risen to prominence with the hit single “Ho Hey,” is nominated for best new artist.

Several other nominees have already agreed to perform, including Fun., the Black Keys, Mumford & Sons and Taylor Swift. Ed Sheeran, the British newcomer whose song “The A Team” is up for song of the year, will sing a duet with Elton John. The Grammy Awards will be presented on Feb. 10 at he Staples Center in Los Angeles and the ceremony will be broadcast on CBS at 8 p.m.



Theater Talkback: Defying Expectations Off Broadway

From left, Scott Price, Luke Ryan, Brian Tilley and Simon Laherty in “Ganesh Versus the Third Reich.Sara Krulwich/The New York Times From left, Scott Price, Luke Ryan, Brian Tilley and Simon Laherty in “Ganesh Versus the Third Reich.”

Theatergoers generally expect actors to abide by certain longstanding conventions, and if actors fail to oblige, it usually isn’t intentional. We assume, for starters, that people portraying other people are going to speak so we don’t have to strain to understand them. Emotions, even mixed emotions, should be rendered with comparable accessibility and with a flow that passes for a smoother, larger version of the real thing.

We should never, ever be aware of the gap between actors and their roles, a state that suggests tht the performers are either miscast or inadequate, nor of the effort or strain that goes into creating the illusions of other lives. (Theater is not an athletic event.) And heaven forbid that any performer should directly or indirectly question our responses to a performance as it is occurring.

Well, that’s the way it is on the mainstream stages of Broadway, anyway. But had you stepped into the well-packed margins occupied by more adventurous theater artists in New York in recent weeks, you would have heard the crashing, tearing sounds of every one of these rules being willfully shattered and shredded.

Simon Laherty in Sara Krulwich/The New York Times Simon Laherty in “Ganesh Versu! s the Third Reich.”

Consider, for example, the close-attention-demanding ensemble that animated the Australian-born “Ganesh Versus the Third Reich,” in which most of the cast members had “intellectual disabilities.” Or the Israeli troupe of blind-and-deaf performers in “Not by Bread Alone.” Or the actors who chose to act badly in “Inflatable Frankenstein” and “Seagull (thinking of you).” Or even the British chap who showed up â€" in a children’s theater production, no less â€" to confront young audience members about why they were laughing at his character, a tattered refugee from Shakespeare, in “I, Malvolio.”

Of these “Ganesh Versus the Third Reich” (part of the Public Theater’s Under the Radar festival) is the most daring and probably the most iluminating. Created by Back to Back, a 25-year-old Australian company devoted to work featuring disabled actors and staged by Bruce Gladwin, “Ganesh” offers no prefatory explanations or context. It begins with three men discussing a drama about to begin rehearsals.

That play, one of them explains, is “a story about power.” Actors will be required to be Nazis and Jews and ancient Indian gods, one of whom, Ganesh, visits Germany in the age of Hitler. It takes you a while to register that the effortful speech and movements of the men having this discussion are not just actors’ interesting choices. These guys are this way naturally.

As the show continues â€" moving between the fantasy play and the back story of those behind it â€" it emerges that acting in it is a struggle for the performers in more ways than one. They argue about what right they have to embody persecuted Jews or their oppressors. Fights flare up, and t! he rehear! sals too become a study in the uses and abuses of power.

The unctuous director, a conventionally handsome and well-spoken man, isn’t above playing head games with his cast members, particularly the recalcitrant ones. At one point he imagines a confrontational moment with an audience in which he taunts it for coming to “see a freak show.” He also appears in that show as Dr. Mengele, speaking about his fascination with “degenerative” human types.

A sort of revolution of the oppressed occurs in both narratives of “Ganesh.” But every time you think you’ve sorted the show into tidy parallel lines, it deviates onto another quivering tangent. Neither of its stories so much ends as trails into a disturbing ellipsis of unresolved questions. The last image, centered on the most conspicuously speech-impaired actor, is less one of triumph than of confinement, a sense of someone imprisoned by prejudgments that refuse to disappear.

From far left, Yuri Tevordovsky, Marc Yarosky and Igor Oshorov in “Not by Bread Alone.”Rina Castelnuovo for The New York Times From far left, Yuri Tevordovsky, Marc Yarosky and Igor Oshorov in “Not by Bread Alone.”

“Not by Bread Alone,” which runs through Feb. 3 at the Skirball Center at New York University, is more straightforward and even old-fashioned in presenting disabled performers. Directed by Adina Tal, this production from the Nalagaat Theater of Tel Aviv features a cast whose members are all, to some degree, deaf and blind. And the show has them speak of (through signed and supert! itled int! erpretations) and act out their dreams of a life in which they can see and hear.

The forms that these fantasies take evoke silent movies, of both the sentimental and comic variety, and vaudeville routines. In other words, their interior lives have been translated into a language of spectacle that a sighted and hearing audience is familiar with. For the most part they’re reaching out to us, rather than asking us to come to them.

While some of the company members are indeed adept in conventional performance modes (a woman who plays the piano, a stilt walker, a pair of roughhouse comedians with crackerjack timing), much of what they do doesn’t take us beyond the threshold of their interior worlds. To begin to make that journey you need to watch how they communicate by touch with one another, a connection that exudes an autonomous strength, eloquence and physical grace.

Sara Krulwich/The New York Times A scene from Radiohole’s “Inflatable Frankenstein.”

Graceful is hardly the word for the acting styles on display in Radiohole’s “Inflatable Frankenstein” and Half Straddle’s “Seagull (thinking of you),” nor would their performances consider it a compliment if they were thus described. These riffs on classics by Mary Shelley and Anton Chekhov, part of the Performance Space 122’s Coil Festival of experimental theater, are both by Brooklyn troupes with their own defiantly scrawled signatures.

Radiohole and Tina Satter’s Half Straddle belong to a generation of avant-garde theater artists who ! are both ! descended and consciously different from impenetrably polished deconstructionists like the Wooster Group and phantasmagoria-spinning head trippers like Richard Foreman’s Ontological-Hysteric Theater. These younger companies embrace awkwardness and even amateurishness to emphasize the separation between performers and performance.

The beer-swigging members of Radiohole are like giddy overgrown students, goofily stumbling over their own insights. (In the case of “Inflatable Frankenstein,” which features some gasp-inducing technological effects, this involves some astute, self-sabotaging observations about birthing a monster, a play and standard-issue children.)

For Ms. Satter’s “Seagull,” which dissolves the barriers between Chekhov’s characters and the actresses who play them, familiar lines of dialogue are redistributed among the cast and then recited with varying degrees of proficiency. The show can feel too precious by half, but it has the virtue of making us rehear and rethink wll-worn passages from a much-studied, much-performed play.

Tim Crouch in Marcus Yam for The New York Times Tim Crouch in “I, Malvolio.”

In contrast Tim Crouch, the writer and sole performer of “I, Malvolio,” brought to New York by the New Victory Theater, inhabits his character with the seamlessness and fluency we expect from British actors in Shakespeare. Yet in its way his performance â€" an embodiment of the puritanical, ill-used steward from Shakespeare’s “Twelfth Night” â€" is almost as challenging as those in “Ganesh.”

Greeting us in soiled long johns, with a “kick me” sign! on his b! ack, this Malvolio recaps the plot of “Twelfth Night,” with special emphasis on the humiliations he is subjected to, as he chides us for enjoying the vision of one man’s abasement. He enlists audience members to boot him in the rear, to tie his shoes and even to assist him in his own hanging.

“Is this the kind of thing you find funny” he asks in exasperation. He’s preaching to us, and he’s the kind of preacher we’d like to shower with spitballs. Yet even dour, pompous preachers and teachers can make valid points. Mr. Crouch’s Malvolio finally walks out on his audience, leaving it to wonder whether to stay in or leave their seats.

Being denied the customary closure of a curtain call sure feels frustrating. But that omission, in its silence, speaks loudly on behalf of all these recent shows that refuse to let us take actors â€" and our relationship with them â€" for granted.



Design Unveiled for the National Center for Civil and Human Rights

The Rockwell Group has unveiled its designs for the interior of the National Center for Civil and Human Rights, a museum and research center scheduled to open in Atlanta in 2014.

The center will commemorate the struggle for African-American freedom and equality, and will serve as a center for study and dialogue.

The Rockwell group designed the exhibition space, lobby, MLK gallery and event space. The Freelon Group and HOK are the architects of record for the project.

George C. Wolfe, the theater and film director and former producer and artistic director of the New York Shakespeare Festival and the Public Theater, is the center’s chief creative officer.

The center’s exhibitions will be presented through graphics, projections, interactive kiosks and group interactive stations.

“It’s not an artifact-driven museum,” David Rockwell, the president of the Rockwell Group, said in an interview. “What we were going for is to make that history very real and very vivid, sinc it was not that long ago.”



The Spy Who Married Me: Keri Russell and Matthew Rhys on \'The Americans\'

“The Americans,” a new espionage series beginning next Wednesday on FX, stars Keri Russell and Matthew Rhys as Soviet sleeper agents posing as an average married couple in the D.C. suburbs in the early 1980s. (You can read more about the series here.) The show, a spy thriller cum domestic drama, requires the actors to balance violent fight scenes and other action set pieces with the more delicate work of portraying a coldly professional relationship that is evolving into something more.

“It’s a real acting challenge,” Mr. Rhys said. “You have these extreme moments hand-in-hand with the relationship they have that grounds it, or makes it a little more human.”

Ms. Russell and Mr. Rhys didn’t really know each other before filming started. But sped any time on the show’s set in Gowanus, Brooklyn, and multiple people will remark, unprovoked, on the chemistry between them, something that became apparent during an interview with both actors in Ms. Russell’s chilly trailer (the heat wasn’t working). Mr. Rhys wore a thick black winter coat, earning mocking scorn from Ms. Russell: “Do you want me to get you some earmuffs”

In excerpts from the conversation below, the actors discuss kicking heads, twiddling mustaches and why strategic spy sex tests the bonds of fake marriages.

Q. Did you two know each other before doing “The Americans”

MR. RHYS We had met many years ago.

MS. RUSSELL Many years ago. But no, not really.

MR. RHYS She was drunk, lying in the gutter. I helped her up, gave her $20, threw her in the cab and sent her on her merry way.

MS. RUSSELL That was so generous.

Q. What attracted you to this show

MR. RHYS Working with Keri Russell.

MS. RUSSELL Cash. Always cash.

MR. RHYS It was a number of things. The generic description is it’s a spy thriller. The more attractive element to me was this incredibly complex relationship that sort of begins at the beginning of the series. You have two people who have led the most incredibly strange life together with incredibly high stakes, in this scene of domesticity that is an absolute lie, and at the end of the pilot they’re finding each other for the very first time.

MS. RUSSELL I agree with Matthew that the interesting thing is the metaphor on marriage. Regardless of whether you’re spies, how much do you really know somebody How much do you really choose somebody Or does circumstantial life and all of that stuff mean more in a marriage But the spy element makes it exciting and crazy and you’re having sex with other peple, which tests all of those boundaries.

Q. Your characters are spies using marriage as a cover but Joel Fields, an executive producer, noted more broadly, “What is marriage besides going through the motions”

MS. RUSSELL That’s the show at its best. But then there is all this crazy â€" I just killed someone last night.

MR. RHYS She’s not talking about the series.

Q. The show does include plenty of fight and chase scenes â€" have you done this sort of physical action stuff before

MS. RUSSELL A little bit â€" I did ["Mission: Impossible III"] where I was killed off very early on.

MR. RHYS Producer’s choice.

MS. RUSSELL They were like, get rid of her.

MR. RHYS The occasional war film, bits and bobs. Nothing as consistent as this.

Q. Has any of it been especially challenging

M! S. RUSSEL! L When I had to kick [the actor David Vadim's] head through the wall, that was challenging. He just looked at me as he was putting in his mouth guard and he said, “Listen, do it right once, otherwise I’m going to be mad if we have to do it again.” And I was like “[Fake crying] O.K., booosh!” [Demonstrates a vigorous kick.]

Q. You really seemed to commit.

MS. RUSSELL [Laughs] Well, he scared me.

Q. The ’80s are hardly ancient history but is there any sort of period adjustment you have to make

MS. RUSSELL I can’t believe the ’80s are already period. The biggest thing is no cellphones, which is sort of great because everything is so gadgety these days. When we go to intercept a message we have to drive by our drop spot â€" like, we’re looking under rocks for messages.

MR. RHYS It makes for better television because you’re not just looking at a computer screen. There’ a lot of human ingenuity involved.

Q. Do you remember growing up back then with a fear of the Iron Curtain

MS. RUSSELL The way I remember it is more through all the movies we used to watch when we were kids. Every bad guy had a Russian accent. So in that way it was very clear.

MR. RHYS It was enormous because it was so present for us [in Cardiff, Wales, where Mr. Rhys grew up]. East Germany was just a few hours away â€" nuclear invasion was possible. It was massive at the time.

Q. Does it ever feel odd to now be playing “the enemy”

MR. RHYS Not personally because when you play someone villainous or evil you search for the human aspect of what would motivate them, just to make it real. There’s never an element of remembering that they’re the axis of evil. But I occasionally twiddle my mustache.

MS. RUSSELL Too much. Too much.

Q. “Ho! meland,â€!  another espionage thriller, has been a big hit for Showtime. Do you think people will compare the two shows

MS. RUSSELL It’s so different.

MR. RHYS But it’s inevitable that people will have a snap reaction to it. To be perfectly honest I hope they don’t, because it’s such a different show.

MS. RUSSELL “Homeland” is so good.

MR. RHYS [Laughs] “It’s such a different show â€" ‘Homeland’ is so good.” P.R. Machine Russell.



Supernatural Tales: Manuel Gonzales Talks About \'The Miniature Wife\'

The stories in Manuel Gonzales’s first collection, “The Miniature Wife” (Riverhead), are shot through with outlandish events relayed in an understated tone. In the first story, passengers in an airplane circle above the same city for more than 20 years. In the title story, a husband accidentally shrinks his wife to the size of a coffee mug. In a recent e-mail interview, Mr. Gonzales discussed his use of the supernatural, the writing center he runs in Austin, Tex., and more. Below are edited excerpts from the conversation:

Q.

How old were you when you started writing stories And did they always have the magical bent that these do

A.

The first serious attempt I made at writing was during he summer after my sophomore year of college: a long-winded first few chapters of a novel about a guy who woke up one day with superpowers but didn’t know how to use them or why he had them. When I was in seventh or eighth grade, I set out one summer to write a fantasy novel, something dense and grand like Terry Brooks’s “Sword of Shannara” series, but I had this notion that all I’d need to do was take one of the longish Dungeons & Dragons games my friends and I had been running and just transcribe that into what would become a best-selling book. I was wrong.

Q.

Your use of werewolves, zombies and other mythical creatures is always married to a sense of realism. What do you think of the current appetite for much less realistic versions of these myths in pop culture

A.

I’ve been a longtime fan of ! the less realistic sci-fi and fantasy tropes, ever since my dad made us watch “Day of the Triffids.” What’s interesting to me is how wildly that appetite swings from the reinvention of the vampire into a young adult romance fantasy to a gruesome and serious end-of-the-world zombie scenario with “The Walking Dead,” and everything in between.

Q.

At Columbia, you studied under Ben Marcus, another writer known for fantastical work. Did working with him have any specific effect on your fiction

A.

Taking his classes had a big influence on my work, but less because of his own fiction, which I love, and more because of his vast knowledge of writers and great fiction. Through him, I learned about Gary Lutz, George Saunders, Raymond Roussel, J. M. Coetzee, Brian Evenson, Deborah Eisenber, Richard Yates, Dawn Raffel, Evan Connell and W.G. Sebald’s novel “The Emigrants.” Also, in his class, I learned how to write a scene, which is kind of important.

Q.

Who do you consider your biggest influence who doesn’t work at all in the vein of magical realism

A.

Joseph Mitchell, who wrote for The New Yorker starting in the 1930s, and branching off from him, Susan Orlean, Ian Frazier and Lawrence Weschler. Two of the oddest stories in the collection are the ones about the guy who talks out of his ears and about the African continent sinking into the sea, and I think the only way those worked for me as a writer was that I structured them like a nonfiction profile, which is one of my fa! vorite fo! rms to indulge in as a reader and a writer.

Q.

You have a Tumblr site where you write a brief new story once a week, inspired by a photograph taken by a collaborator. How is that project useful to you Do you plan to lengthen any of those stories in the future

A.

The Tumblr began as an ill-conceived notion to make me famous, and has become a great writing tool and a fun game for me to play. It’s an exercise, mostly, the stories written the night before or the morning of the Friday “deadline,” so it forced me to write quickly, from different points of view, and offered me a break from whatever else I was working on. There are a couple of the posts that I’ve thought about lengthening â€" one about a guy who learns he’s actually a robot, but a mediocre robot, for instance â€" but sometimes it’s hard for me to imagine them longer than they are now.

Q.

The Tumblr site sas you will do this “For a year. (Maybe longer.)” It seems to have been running for just over a year. Do you plan to keep going

A.

We are going to keep going, but the format and the frequency might change. We’re also thinking of bringing in more artists â€" musicians, other photographers, other writers â€" and making it more of a collaborative project.

Q.

Animals feature heavily in the book. Are you conscious of returning to certain preoccupations over time

A.

Animals kind of freak me out. Birds, a lot of times, seem to swoop too close to my head. My wife begs to differ. But animals seem strange and unpredictable to me â€" rats, mice, squirrels â€" and wild beasts have recently been turning up in my hometown of Plano, Tex. Packs of coyotes roam the streets at night, as well as a bobcat or two. I can’t say I know what they mean to me, but they do crop up from time to time.

Q.

Youâ€! ™re the executive director of Austin Bat Cave, a nonprofit writing and tutoring center in Austin for kids ages six to 18. What do you think is the most important thing to teach a six-year-old about writing An 18-year-old

A.

You teach a six-year-old and an 18-year-old the same thing but to a different degree and by a different process, namely: Find your voice; tell your story. Many times, people will misread that last bit to mean, “Write about things that have happened to you,” and while I’m all for kids writing rigorous accounts of their lives and will support and encourage any kind of writing, I like to impress on the kids and the volunteers that “tell your story” is as much about the story you feel compelled to tell, even if it has nothing at all to do with your life â€" because if you’re compelled to tell it, you’ll also be compelled to make it good.

Q.

Is there anything about Texas in partcular that fuels your imagination

A.

A lot of the suburban landscape of Texas finds a place in my stories because I grew up there and I’m at ease with those places as a writer, but also because, as a kid, I always hoped something truly interesting would happen there. Sadly, interesting things never happened, so I make them happen in my fiction and then watch my characters suffer the consequences.



A Memorable Concert

Dear Diary:

In late December, after a long day at work, I decided to take a cab home. During the ride, my driver, who appeared to be in his 20s, burst into song.

I took my headphones out of my ears and asked him why he was singing. He replied that he had just received his accounting degree from Queens College and could now pursue a career in accounting. I then inquired where he was from; he informed me that he was from Bangladesh.

After he described the compelling story of how he got here, I asked him if he was familiar with the Concert for Bangladesh.

He responded that even though he was born in 1984, thirteen years after the concert, he knew about it because every year a documentary about the concert was shown in his country, and he knew that the concert had been organized by Ravi Shankar and George Harrison.

I then informed him that I had been at the concert and had slept outside Madison Square Garden overnight with my friends in order to get tickets. He seemed very moved y this, and at the end of the ride extended his hand and thanked me for going to the show.

Imagine that. He thanked me for attending one of the most amazing concerts I have ever seen.

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SFJAZZ Center Opens as Temple of Jazz in California

SAN FRANCISCO â€" “Congratulations,” Bill Cosby told a roomful of jazz patrons on Wednesday, near the outset of an opening-night concert for the SFJAZZ Center here. “This is your place, you know.”

The crowd, which filled the 700-seat Robert N. Miner concert hall, laughed appreciatively at Mr. Cosby’s line, which was no less welcome for being obvious. The SFJAZZ Center, a $64 million facility, proudly billed as the first standalone building designed for jazz in this country, was being consecrated in the presence of assorted board members, capital donors and series subscribers, all of whom had a stake in the project. But the concert, which was broadcast on radio by WBGO and WWOZ (and online by NPR Music), was also intended for a larger audience of jazz faithful, a global audience. If all goes as planned, this is to be their place, too.

SFJAZZ is celebrating its 30th season this year, and Randall Kline, its founder and executive artistic director, wanted the evening’s festivities to sowcase longstanding bonds. So the concert featured a preponderance of musicians who have history with the organization, including the tenor saxophonists Joshua Redman and Joe Lovano and the pianists McCoy Tyner and Chick Corea. Each of this season’s five resident artistic directors â€" the guitarist Bill Frisell, the pianist Jason Moran, the violinist Regina Carter, the percussionist John Santos and the alto saxophonist Miguel Zenón â€" had some integral part to play.

Several of the evening’s highlights were touched by serendipity. Mr. Corea and Mr. Frisell, who had never played together before, fashioned an exquisite duo improvisation on the standard “It Could Happen to You.” The bassist Esperanza Spalding played for the first time with Mr. Corea and the drummer Jeff Ballard. Mr. Tyner led a heavyweight quartet â€" with Mr. Lovano, Ms. Spalding and the drummer Eric Harland â€" in a version of his 1970s staple “Walk Spirit, Talk Spirit.” And Mr. Moran ! teamed up with Mr. Harland for a slyly abstracted take on Fats Waller’s “Yacht Club Swing.”

Naturally there were performances by artists from the area. The singer Mary Stallings, who grew up not far from the site of the new center, sang an arrangement of “I Love Being Here with You” with the SFJAZZ High School All-Stars, an education initiative. (Ms. Carter also played one song with the high schoolers, sounding effortless.) And Mr. Santos worked in several formats, including a percussion-choir version of Tito Puente’s “Ti Mon Bo.” (On timbales was Pete Escovedo, another important Bay Area fixture; on cowbell was Mr. Cosby.)

As for the SFJAZZ Collective, a justly acclaimed flagship band, it played two numbers: “Mastermind,” a metrically tricky piece by Mr. Zenón; and “Spain,” one of the best-known tunes by Mr. Corea, who sat in on keyboards. (Despite its name, the Collective now has just one member who hails from the region: Mr. Ballard, a native of Santa Cruz, Calif. Itsroster otherwise represents Israel, Puerto Rico, Venezuela and New Zealand, along with Philadelphia and Albany.)

The Miner auditorium, a steeply raked cube of a hall, offers a lot of promise right out of the gate: its sound is clear and warm from almost any vantage, and its seating plan gives an impression of intimacy even from the balcony. (The architect was Mark Cavagnero, and the acoustician was Sam Berkow; both are justifiably proud of their work here.) I’ll have more to say â€" about the development and design of the SFJAZZ Center, and about what it means for jazz culture in the Bay Area and beyond â€" in a critic’s notebook later this week. In the meantime, suffice it to say that this long-awaited enterprise is off to a bang-up start.