JAZZ.FM91 presents a new program produced and hosted by multiple Grammy Award winner Gary Burton from his home studio in Fort Lauderdale. Starting Sunday, January 12th at 4:00PM, the 13-part series has been created and produced exclusively for JAZZ.FM91. Burton, an all round music fan and educator, will play music from his own home collection, and share stories from the road, backstage and the studio from his prolific, 50-year career. JAZZ.FM91 will be the sole broadcaster of “The Gary Burton Show”
“The jazz audience in Toronto has always been one of the best” says Burton, “so I’m really looking forward to getting better acquainted with the jazz fans up north when my new radio show launches on JAZZ.FM91.”
Gary Burton, a 7-time Grammy Award winning self-taughtvibraphonist, has performed and recorded with the biggest names in jazz including, Chick Corea, Pat Metheny, George Shearing, Stan Getz, Keith Jarrett and John Scofield. He is one of the great vibraphonists to emerge in the 1960s, hitting the scene with his remarkable four-mallet technique. During a more than 30-year affiliation with the Berklee College of Music in Boston, Burton has helped change the game for jazz education.
Burton has just released a new album with The New Gary Burton Quartet entitled “Guided Tour” which has earned a Grammy Award nomination and an autobiography from Berklee Press, “Learning to Listen: The Jazz Journey of Gary Burton”. In Learning to Listen, he shares his fifty years of experiences at the top of the jazz scene.
Critical acclaim for “Learning to Listen: The Jazz Journey of Gary Burton” has been effusive with critics and artists alike singing its praises. Pat Metheny says, “in this captivating autobiography, Gary takes us through a lifetime lived on the front lines of a shifting and evolving world with a clarity and focus that is worthy of his narrative skills as one of the greatest jazz soloists of his time.”
Ross Porter, JAZZ.FM91 President & CEO says, “We are very lucky to have the most influential artists in the world collaborate with the station on exclusive programming. To have Gary Burton on-air at JAZZ.FM91 is a huge deal and I’m confident that our audience will enjoy what he’s put together.”
Gary Burton’s 13-part series will air Sundays from 4:00PM to 5:00PM and can be streamed online at www.jazz.fm, via the Android App, iPhone and iPad apps and at 91.1FM.
JAZZ.FM91 is called “One of the most vibrant and versatile jazz stations on the planet” by Jazz Times, and is Canada’s only registered not-for-profit radio station dedicated to the jazz community and music education. JAZZ.FM91 can be heard live on the air at 91.1FM, streamed online at www.jazz.fm, or listened to on an iPhone, iPad or iPod Touch, with the free JAZZ.FM91 App on the Android App at the GooglePlaystore.
In Do You Believe in Magic?, medical expert Paul A. Offit, M.D., offers a scathing exposé of the alternative medicine industry, revealing how even though some popular therapies are remarkably helpful due to the placebo response, many of them are ineffective, expensive, and even deadly.
Dr. Offit reveals how alternative medicine—an unregulated industry under no legal obligation to prove its claims or admit its risks—can actually be harmful to our health.
Using dramatic real-life stories, Offit separates the sense from the nonsense, showing why any therapy—alternative or traditional—should be scrutinized. He also shows how some nontraditional methods can do a great deal of good, in some cases exceeding therapies offered by conventional practitioners.
An outspoken advocate for science-based health advocacy who is not afraid to take on media celebrities who promote alternative practices, Dr. Offit advises, “There’s no such thing as alternative medicine. There’s only medicine that works and medicine that doesn’t.”
Medical expert and health advocate Dr. Paul A. Offit offers an impassioned and meticulously researched exposé of the alternative medicine industry.
A half century ago, acupuncture, homeopathy, naturopathy, Chinese herbs, Christian exorcisms, dietary supplements, chiropractic manipulations, and ayurvedic remedies were considered on the fringe of medicine. Now these practices—known variably as alternative, complementary, holistic, or integrative medicine—have become mainstream, used by half of all Americans today seeking to burn fat, detoxify livers, shrink prostates, alleviate colds, stimulate brains, boost energy, reduce stress, enhance immunity, eliminate pain, prevent cancer, and enliven sex.
But as Offit reveals, alternative medicine—an unregulated industry under no legal obligation to prove its claims or admit its risks—can actually be harmful to our health. Even though some popular therapies are remarkably helpful due to the placebo response, many of them are ineffective, expensive, and even deadly. In Do You Believe in Magic? he explains how
- megavitamins increase the risk of cancer and heart disease—a fact well known to scientists but virtually unknown to the public;
- dietary supplements have caused uncontrolled bleeding, heart failure, hallucinations, arrhythmias, seizures, coma, and death;
- acupuncture needles have pierced hearts, lungs, and livers, and transmitted viruses, including hepatitis B, hepatitis C, and HIV;
- chiropractic manipulations have torn arteries.
Dr. Offit debunks the treatments that don’t work and explains why. He also takes on the media celebrities who promote alternative medicine, including Mehmet Oz, Suzanne Somers, and Jenny McCarthy. Using dramatic real-life stories, he separates the sense from the nonsense, showing why any therapy—alternative or traditional—should be scrutinized. As he advises us, “There’s no such thing as alternative medicine. There’s only medicine that works and medicine that doesn’t.”
Paul A. Offit, MD is the Chief of the Division of Infectious Diseases and the Director of the Vaccine Education Center at the Children’s Hospital of Philadelphia. Dr. Offit is also the Maurice R. Hilleman Professor of Vaccinology, and a Professor of Pediatrics at the University of Pennsylvania School of Medicine. He is a recipient of many awards including the J. Edmund Bradley Prize for Excellence in Pediatrics bestowed by the University of Maryland Medical School, the Young Investigator Award in Vaccine Development from the Infectious Disease Society of America, and a Research Career Development Award from the National Institutes of Health.
Dr. Paul A. Offit has published more than 130 papers in medical and scientific journals in the areas…more
Offit begins his book with a the case of Joey Hofbauer, a 10-year-old boy who died in 1980 of Hodgkin’s disease. Joey’s parents eschewed radiation and chemotherapy, often curative for Hodgkin’s in children, and, instead, took him to Jamaica for treatments with laetrile. This drug, produced from apricot pits, gained popularity in the 1970s as a “more natural” cancer therapy. Thousands went to Mexico or the Caribbean seeking laetrile, which was illegal in many states, and repeatedly proven ineffective against cancer. By the time of Joey’s death, several states had legalized laetrile, influenced not by science but by lobbying groups, the testimony of actor and cancer patient Steve McQueen, and public opinion. “By the end of the 1970s,” Offit writes, laetrile wasn’t just a drug; it was a social movement.”
Offit points out that the key elements of the laetrile story can be seen today in Jenny McCar-thy’s crusade against vaccines, Dr. Oz’s promotion of coffee enemas and homeopathy, and celebrity anti-aging programs: patients eager for relief, distrust of conventional medicine, charismatic spokespeople — and huge profits. He highlights the irony that those who decry “Big Pharma” embrace alternative medicine, which is highly lucrative and virtually unregulated.
Even before writing “Do You Believe in Magic?,” Offit had ardent admirers and detractors. The coinventor of a vaccine against rotavirus, which causes the diarrheal disease that kills hundreds of thousands of children worldwide annually, Offit is a hero of modern medical science to many. His financial ties to the vaccine industry and his outspoken opposition to the antivaccine movement have made him a villain to many others.
Reportedly, Offit gets a lot of hate mail. “Do You Believe in Magic?” will no doubt add to the pile. Feelings about alternative medicine run so strongly that Offit’s new book is more likely to validate the opinions of readers who agree with him than convince those who don’t. But Offit’s clear, well-documented arguments may make even the most avid fans of glucosamine for aching joints, vitamin C to prevent colds or other forms of alternative medicine pause to ask why they are spending money and even risking their health on treatments that have been shown ineffective.
via … bostonglobe.com
Beautiful Brazil, officially the Federative Republic of Brazil, is the largest country in both South America and the Latin American region. It is the world’s fifth largest country, both by geographical area and by population. Wikipedia
During the centuries of colonialisation, Brazil saw millions of immigrants and slaves from all over the world flocking into the country. As a result, it is a diverse land with an array of cultures, languages, religions, flavours, colours and histories that make up its intricate heritage. These are accurately depicted in the many museums and galleries that are scattered throughout the country, inviting visitors to take a peek into yesteryear. This helps one to appreciate the rich history, as well as the many people that made their mark in this history, including politicians, royals, artists, scientists and even criminals.
Some of the best known museums in Brazil are:
The National Museum of Brazil
Established in 1818 as the Royal Museum, this fascinating establishment was first set up by the Portuguese king, Dom João VI. Its aim was to promote scientific research in the country as it was then mostly unexplored and untainted by human habitation, leaving much to be discovered. http://www.museunacional.ufrj.br/
The National Historical Museum of Brazil
This museum was established in 1922 and is home to the largest numismatic collection of Latin America. http://www.museuhistoriconacional.com.br/
Museu Imperial de Petrópolis
Located in Petrópolis, Rio de Janeiro, this museum just oozes historical appeal. It was once the summer palace of the emperor, Dom Pedro II, and was built in the mid-19th century. http://www.museuimperial.gov.br/
The Historical and Geographic Museum of Campina Grande
This establishment is focused on its host city, Campina Grande in Paraíba. It tells the tale of its complex history by means of hundreds of artefacts and photographs.
Museu Entomológico Fritz Plaumann
As the largest entomological museum in Latin America, this museum is home to more than 80 000 samples of over 17 000 different species of insects. Fritz Plaumann, the namesake of the museum, was a well respected entomologist. http://www.museufritzplaumann.ufsc.br/
The Butantan Institute
This is one of São Paulo’s most popular tourist attractions and consists of a snake pit, biological museum, microbiological museum and historical museum, ensuring that there will be something for everyone to enjoy. http://www.butantan.gov.br/home/
The Museum of the Portuguese Language
As the major colonialists of centuries past, the Portuguese nation make up an integral part of Brazilian culture and heritage. This museum, situated in the city of São Paulo, is an interactive experience for visitors wanting to know more about the language of these Europeans. http://www.museulinguaportuguesa.org.br/
The São Paulo Museum of Art
The São Paulo Museum of Art is an important landmark and is acclaimed for its collection of fine art. http://masp.art.br/masp2010/
Museu Nacional de Belas Artes
This is a significant art museum and is situated in Rio de Janeiro. As such, it attracts many tourists and locals alike. http://www.mnba.gov.br/abertura/abertura.htm
Other well-known and frequented museums and galleries include:
• Rio Grande do Sul Museum of Art
• Júlio de Castilhos Museum
• Museu de Arte de Santa Catarina
• Museu de Arte Moderna in Rio de Janeiro
• Museu de Arte da Pampulha
• Museu Casa de Portinari
• Museu de Arte Sacra
• Museu de Arte Contemporânea do Paraná
• Museu Internacional de Arte Naif do Brasil
• Forte das Cinco Pontas/Recife City Museum
• Pinacoteca in São Paulo
• Museu Mariano Procópio
• Museu Victor Meirelles
• Museu de Arte Contemporânea de Niterói
• Mariano Procópio Museum
“There are many Brazilian arts, just as there are many Brazils and artists working in the geographical territory called Brazil”
Cristiana Tejo Revista das Artes
In the 25 years since the restoration of full democracy, Brazil has become a major player on the world’s stage, and contemporary art in Brazil has acquired similar importance. Artists working in Brazil are finding increasing recognition abroad, both within South America and in the global arena, as demonstrated by strong showings in international Biennials, and the growing presence of Brazilian dealers and gallerists at international art fairs.
Prior to this recent upsurge in global recognition of all things Brazilian, much cultural production within Brazil was less known on the global scene, with artists in exile often being better known than their compatriots at home.
With contemporary art acquiring increasingly international and global characteristics, there may appear to be little that distinguishes contemporary art made in Brazil from that produced elsewhere. Within Brazil itself it may be hard to find a ‘national identity’ for a culture in general that stretches much further than popular infatuation with football, and the celebratory enthusiasm for carnaval. Brazil is a country of continental proportions with seemingly little apart from language, football and carnival to link it together. The Brazil of a metropolitan São Paulo is very different even from the Brazil of Rio de Janeiro and more especially from the dusty rural areas of the northeast or the distant jungles of Amazonas. Yet contemporary cultural production flourishes in all regions and on the level of more popular, craft-based visual arts regional differences are more pronounced.
Within Brazil itself, the major centres for contemporary art are generally considered to be Rio and São Paulo, and for many artists from other regions of the country success is often measured by showing in São Paulo. Without doubt, a considerable amount of very interesting and significant work is being produced in Rio and São Paulo. The major museums and commercial galleries are located here, and it can seem that all eyes are focused there rather than other activities in the regions. Prices for contemporary art are much higher in those two major cities. Yet other regional centres are increasingly making claims for inclusion on the itinerary as major centres for contemporary art production and exhibition. Belo Horizonte, in the Minas Gerais region, has the recently opened Inhotim, on a 3000-acre site, housing 600 works by more than 100 artists in 14 galleries and other exhibition spaces in gardens designed by the modernist landscapist Roberto Burle Marx. Salvador in Bahia has an important Museum of Modern Art, as does Recife in Pernambuco.
Early results of the globalisation of the Brazilian art system have begun to be felt in recent years. A new generation of artists is emerging that is less constrained by the restrictions of the past, with fewer memories of fear and repression. Liberalisation of the political system in the past 25 years, coupled with easier travel and communications and decentralisation have expanded the flow of information , which has driven greater professionalism and the growth of regional hubs in cities such as Recife, Fortaleza, Belem, Salvador, Belo Horizonte, and Porto Alegre, with the emergence of new museums, galleries and art events and a loosening of the perceived stranglehold formally exerted by the Rio – São Paulo axis. Recent cultural policies and growing professionalism have allowed more art professionals to remain in the regions rather than feeling compelled to migrate to Rio or São Paulo.
Art production has begun to find greater international recognition, largely through the efforts of gallerists and curators and wider international appreciation of Hélio Oiticica and Lygia Clark, two key names in Brazilian art since the 1950s
via … artquest.org.uk
At present, the museum collection consists of approximately 12,000 items. In this continually changing exhibition, we select a group of 200 pieces from the collection and display them in the 3,000㎡ gallery space across the three floors of the museum.
Exhibitions will be renewed every two or three months, with significant changes in the works on display. With a wide range of special displays, you are bound to encounter something new every time you visit the museum. The “Highlight Corner,” where you’ll find a variety of familiar works, and the relaxing “Nihon-ga (Japanese-style Painting) Corner” also promise a rich viewing experience.
Kobayashi Kokei, Indian Corn Plants, 1939
Over 200 works are lined up in this 3,000-square-meter space – these extravagant conditions are the pride of the MOMAT Collection. In recent years, however, we have received an increasing number of comments like, “They’re so many things here, I’m not sure what to see!” and “All I want to do is have a quick look at the famous works in a short period of time!” As a result, in conjunction with the gallery renovations that were completed last year, we have created this “Highlights” corner to allow visitors to enjoy a consolidation of splendid works from the collection, with a focus on Important Cultural Properties. For the walls, we have selected navy blue to make the works stand out more beautifully. And to eliminate the glare of glass cases, we have opted for a mat black for the floor to help viewers concentrate on the displays.
In this exhibit of Nihon-ga (Japanese-style painting), we present Kobayashi Kokei’s Indian Corn Plants and Kayama Matazo’s A Thousand Cranes. These works are part of a lineage that stretches back to the aesthetic sense of the 17th century Rimpa School, which was rediscovered in the early 20th century. Both Indian Corn Plants, which makes effective use of blank space, and A Thousand Cranes, a decorative work depicting a stylized flock of cranes in flight, offer a unique interpretation of the artistic characteristics of the school. In the field of oil paintings, along with a number of Important Cultural Properties, we present notable works by Umehara Ryuzaburo, Kambara Tai, and Paul Klee which exemplify the artists’ attempts to explore the effects of color.
2. The Bunten Exhibition Era
Following the inauguration of the Meiji government in the late 19th century, a variety of cultural concepts and systems based on a Western model were adopted in Japan. It was during this period that painting also came to be divided into two categories. The term “yo-ga” (Western-style painting) was used to refer to oil painting, which had its roots in the West, while “Nihon-ga” (Japanese-style painting) denoted any painting that made use of time-honored and traditional Japanese techniques. This genre division was further reinforced at a government level with the opening in 1907 of the Bunten exhibition, an annual event sponsored by the Ministry of Education that consisted of three divisions: Western-style painting, Japanese-style painting, and sculpture.In this section, we present Western-style paintings dating to around the time that the Bunten exhibition was first held, with an emphasis on works by the so-called “new school” of painters headed by Kuroda Seiki. Unlike the “old school,” which included artists such as Asai Chu, who favored dark brown, the new style, characterized by the use of a blue tinge in everything including shadows, produced outstanding works depicting scenes flooded with brilliant sunlight. But despite the overall similarities, when we compare several pictures of the sea, it is clear that each artist adopted a different approach to light.In the Nihon-ga field, we present Otake Chikuha’s The Visit, a painting that delights the eye with its depiction of autumn flowers. And in the sculpture field, we present Asakura Fumio’s The Grave Keeper . Both of them are originally shown in the 4th Bunten exhibition.
3. Art Movements of the Taisho Period
In 1910, the sculptor and poet Takamura Kotaro published an essay titled “The Green Sun” in which he asserted that in order to express one’s self, an artist might depict the sun as green rather than red. Concepts such as “the individual” and “freedom,” which Takamura stressed in his text, were also key words in the art movements of the Taisho Period.
The artists behind these movements were fanatical about Post-Impressionist painters like Van Gogh and Gauguin, who were first introduced in the magazine Shirakaba (White Birch). They had also discovered the power of self-expression. Though Fauvism had an unmistakable influence on Kawakami Ryoka, and likewise Renoir on Umehara Ryuzaburo, and Cézanne on Nakamura Tsune, it is perhaps more important to point out that the artists transformed the values of artistic expression after coming into contact with these new ideas in Western painting. This in turn led to the individualistic outlook of figures such as Yorozu Tetsugoro, Sekine Shoji, and Murayama Kaita. At the same time, there were artists like Kishida Ryusei, who ceased to pursue new avenues and turned instead to detailed depictions, concentrating on the life and mystery that dwelled within his subjects. These distinctive expressions exerted a clear influence on Kishida’s associates in the Sodosha group as well as many other artists
including a number of Japanese-style painters
Ogiwarwa Morie, Miner 1907
4. Portrait Sculpture: Pursuing the “Real”
Let’s start by comparing the busts by Asakura Fumio and Ogiwara Morie. Which one seems more real? To describe the differences in the plainest terms, you might say Asakura sought to capture an external likeness while Ogiwara attempted to portray the changing aspects in the outward appearance, suggesting an emphasis on the personality of the model and the inner workings of the artist’s mind.
Asakura’s work accurately conveys the figure’s superficial skeletal structure and minute expression through elements such as the rugged cheekbones and furrowed brow. At the time, the artist, who had graduated from the Tokyo School of Fine Arts, was attached to the idea of realistic depiction as seen in the work of Shirai Uzan, who was also a teacher at the school.
On the other hand, the figure in Ogiwara’s Miner has an unusually high nasal ridge and the center of his lips are pointed. In contrast to the features of his long face, his neck has a bold appearance,
creating an extremely powerful impression. Astounded by the work of Rodin, who Ogiwara met while living in Paris, the artist set his sights on becoming a sculptor and returned to Japan to present his work in 1908. Unfortunately, he died suddenly only two years later at the age of 30. But Nakahara Teijiro and other sculptors who followed his lead, were greatly influenced by Ogiwara and Rodin.
5.Umehara Ryuzaburo and Yasui Sotaro
In this phase of the exhibition, we present depictions of human figures by Umehara Ryuzaburo and Yasui Sotaro in Room 5. The two artists, both of whom were born in 1888 in Kyoto, were known as the Japanese Renoir and the Japanese Cezanne, respectively. Their emergence signaled the start of a new era in European-style painting in the Showa Period.
Renowned as a master of portraits, Yasui depicted numerous people in his work. But a close examination reveals that the structure of their faces and proportions of their bodies were significantly deformed. There is also a strange relationship between the figures and the background space.
Umehara, on the other hand, was famed for his countless nudes. Less concerned with the way his models fit into the square picture plane and the background space than Yasui, Umehara placed a strong emphasis on the use of brilliant colors. In his early works, he dealt with meaningful subjects such as Narcissus (the handsome youth from Greek mythology who fell in love with his own reflection on the surface of a pool of water) and nude women with mirrors.
In this exhibit, we also present examples of more avant-garde tendencies in works such as Koga Harue’s Sea and Yorozu Tetsugoro’s Leaning Woman, which are also representative of the era. Please take a minute to compare the picture of the persistent woman changing into a machine with the figures by Umehara and Yasui.