Tag: nyc

The Chinese community has been cheesed off recently by the Fox News’ O’Reilly Factor, as the correspondent Jesse Watter came to Chinatown in Manhattan and asked stereotypical and racist questions. Social media exploded after the segment was broadcasted on national television, and Chinese protesters gathered demanding an apology. Yet, Bill O’Reilly remains standing by Jesse Watter and refers the outrage from the public as an “organized campaign.”

I watched this footage. I asked the same question as Ronny Chieng does on the Daily Show: how is this thing news? And among all the disrespectful things he did in Chinatown, what I find the most shameful is the moment when he questioned two old Chinese people who couldn’t understand English. He thought it was funny to show some awkward silence when talking to someone who didn’t understand the language, but what he actually did was challenge the most basic and fundamental respect and politeness this society values.

Language is important in shaping a community and identifying a community member. Common language is the basis for communicating, sharing opinions, collaborating and even debating. However, people are forgetting the fact that speaking is fundamentally an ability, just as walking or seeing. It should not be taken for granted that everyone in this country has enough language proficiency to express his or her opinions and utilize speaking as a way to defend his or her rights. As in O’Reilly Factor, when facing a man asking racist questions in a language they don’t know, the old Chinese people could not, even if they wanted to, retaliate the ridicule imposed on them. They could only respond to Jesse Watter with an awkward smile, half friendly and half puzzled.

And it is not them to blame. If we can respect people who can’t walk, if we can respect people who can’t see, why can’t we respect people who can’t speak? We have made great effort to make our facilities and infrastructures accessible to people who have special needs, yet it seems that we forget how to make our society accessible to those who have difficulties in speaking for their rights. We have emphasized making an environment comfortable enough for those who have physical disabilities, yet our community is shying away from those who can’t express their opinions properly.

The barrier of language may be more deep and severe than the barrier of race and identities, but there is less awareness of it, because the victims suffering from this do not have a voice and cannot confront the injustice they face, and so we may never hear their stories. It is difficult to protect their rights and keep them from bullying in terms of language. We can only count on our conscientiousness and our humanity. But for a civilized community, it is necessary.

Perspectives of a Math Major runs alternate Wednesdays. To contact the author to submit a piece of your own, email submissions@columbialion.com.

This past summer, being the existential early 20 year old I am, I decided that I should start a blog. Being that I was going abroad for the fall semester, I naturally came to the conclusion that “I should definitely write about the totally “eye awakening” experience of life in a foreign country”. Shortly after my epiphany, I popped my own bubble, remembering that I was in fact going to Denmark… a country arguably whiter than me. Plus, everyone and their mom blogs about their study abroad experiences, and I wanted to be different. So I sat and pondered for a bit, contemplating my interests. After first reaching the conclusion that I needed more hobbies, I realized that the two things I am most passionate about are “Sex and the City” and strategic stability. Two peas in a pod… right?!

As I began thinking about the two subjects, I began drawing more connections between the two. I explicitly remember sitting in Professor Zachary Shirkey’s “Topics in International Security” class, where he would give “real world” examples of complex theoretical models, such as crafting strategy to try and get to Brooklyn when the L train was down. The more classes I sat through, the more I often thought, “holy shit, avoiding war is almost as hard as finding a steady relationship in New York”. I continued my studies, interning with an Arms Control affiliated office, and continued to draw these parallels between international relations and life in the Big Apple with thoughts such as “Russia acts up more than the MTA”, and “I should have made stronger alliances my first year”.

So, ladies and gentlemen, it is with great pleasure that I introduce you to my series: “Sex and the City…. and Deterrence”. It is my aim with this column to make strategic stability and international relations sexy again—a Cosmo of Jervis and (Samantha) Jones, if you will. Hell, maybe I’ll even inspire other aspiring Louboutin-clad warmongers out there. Through multiple extended metaphors, drastic simplification of IR theory, a strict avoidance of dry texts, and a hint of humor, I hope to take you on a journey through the streets of New York and the complexities of foreign policy.

Alright, enough clichés. For my more doubtful readers, who are wondering just how exactly I plan to go about this, think of my series as a type of intelligence analysis.

In the Intelligence Community today, one of the most common approaches to understanding data is through a Synthesis Analysis Model. Essentially, it models relationships between two elements to better help the consumer of the data understand it. It requires that the analyst is first creative, simplifying the data and creating a model, and then analytical; pulling his or her own model apart to see if more elements can be made more precise.

That is exactly what I tend to do! I am going to create elaborate models through Carrie Bradshaw like rhetorical questions, using data such as Professor Jack Snyder’s Why Emerging Democracies Go to War, in order to better digest the material.

I cannot wait to begin this journey, and hope you enjoy it as much as I do.

For an example of a common Synthesis Analysis Model, please visit the following link:

https://www.theguardian.com/news/datablog/2010/apr/29/mcchrystal-afghanistan-powerpoint-slide

“Sex and the City… and Deterrence” runs alternate Fridays. To contact the writer or submit a piece of your own, email submissions@columbialion.com

With only two weeks left in their season, the Metropolitan Opera looked forward to the summer with an exuberant presentation of Wolfgang Amadeus Mozart’s Die Entführung aus dem Serail (“The Abduction from the Seraglio”) last Friday night. The piece, which premiered in 1782 when the composer was only 26 years old, is a German singspiel – an opera in which spoken dialogue is interspersed between arias and ensembles. The story includes antiquated notions of the relations of East and West and is certainly of its era, but listening to Mozart’s timelessly ebullient music still makes for a mirthful way to spend a springtime evening.

Entführung is set in a Turkish seraglio into which three European travelers – the noble lady Konstanze, her maid Blondchen, and Blondchen’s sweetheart Pedrillo – have been sold into servitude for the ruling Pasha Selim. When the opera begins, Konstanze’s betrothed, the Spanish gentleman Belmonte, has arrived at the harem to rescue Konstanze. But before doing so, he and Pedrillo must outmaneuver the palace overseer Osmin in order to free the ladies, while Konstanze struggles to remain firm against the Pasha’s advances.

Just a week after the Met announced that Music Director James Levine would resign from his position due to health concerns, the conductor was back on the podium for this performance. Thanks to the smaller demands of a chamber orchestra and only half-a-dozen cast members, Levine was able to keep all the musical forces together and led a buoyant yet lithe rendition of Mozart’s early masterpiece.

As Konstanze, Russian soprano Albina Shagimuratova offered a portrayal marked by refined timbre, rosy tope notes, and crystal clear vocal runs. Shagimuratova especially excelled in delivering Konstanze’s two formidable arias, which she dispatched with both precision and sophistication.

Kathleen Kim brought her characteristically radiant soprano and charming persona to the role of Blondchen who, despite her small stature, goes toe-to-toe with the towering Osmin to protect her modesty. Hers was also an enchanting characterization throughout.

Tenor Paul Appleby sang with a polished focused sound, that, while appropriately Mozartean, often struggled to fill the Met’s expansive auditorium and receded into the background during ensemble singing. Making his Met debut, Brenton Ryan was an adorable Pedrillo. With outgoing physicality and enthusiastic singing, Ryan brought great charisma and winning energy every time he appeared onstage.

Bass Hans-Peter König as Osmin plumbed the depths of his vocal range and sang with a dark, booming sound that nicely complemented his cast mates’ lighter voices. In the spoken role of Pasha Selim, Matthias von Stegmann gave a satisfactory if unremarkable interpretation.

The Met continues to use John Dexter’s 1979 staging of Die Entführung aus dem Serail each time they revive the opera despite the fact that, with its reliance on dusty flat scenery and some garish velvet costuming, is rather outdated. More remarkably, the production does little to address the cultural stereotyping in the source material. Not that Entführung is a terribly offensive piece considering the context of its composition, but this presentation still relies on dark makeup and “Middle Eastern-inspired” clothing to depict the Turkish characters. All this being said, this revival of Mozart’s Die Entführung aus dem Serail features an accomplished cast that enlivens the evening with (mostly) stellar musical performances, making for an exciting way to celebrate the end of the season.

Performance of Die Entführung aus dem Serail run through May 7th with the final performance broadcast live on WQXR 105.9 FM. More information can be found online at the Met’s website.

Last Thursday night, the Metropolitan Opera roared with thunderous applause at the conclusion of Gaetano Donizetti’s Roberto Devereux, the first ever presentation of the piece in the company’s history. Even more momentous, with this performance, soprano Sondra Radvanovsky completed her season-long journey of singing all three lead heroines in the composer’s “Tudor Trilogy.” To celebrate the occasion, the Met assembled an all-star cast to perform the work in an opulent new production by Scottish director Sir David McVicar.

With each outing in these roles, Radvanovsky has further asserted her mastery of vocal technique and dramatic interpretation, even if her large voice is not typical of the Bel Canto repertoire. In Roberto Devereux, she plays an aging Queen Elizabeth I, weary after a long reign on the British throne. As the opera opens, Elizabeth struggles to win the affection of the much younger Robert Devereux, Earl of Essex, who has secretly taken up with Sarah, Elizabeth’s close confidant and wife of the Duke of Nottingham. After Robert is convicted of treason, Elizabeth is determined to save him from punishment, but when the truth of his affair with Sara is revealed, her love turns to rage, and she instead signs the death warrant that seals his – and her – fate.

Radvanovsky’s singing was even more polished than in past performances, characteristically combining prodigious sound with razor-sharp high notes while still carefully massaging the role’s lyrical phrases. As always, the soprano was especially moving when effortlessly floating sustained pianissimi, and with increasingly unhinged physicality, Radvanovsky conveyed Elizabeth’s descent into despair and resignation. Hers was a masterful portrayal that deserved the prolonged ovations it received, but in future performances Radvanovsky could bring a touch more grit to the interpretation and achieve even greater impact.

Nearly two decades after his Met debut, tenor Matthew Polenzani’s talent is being rewarded with some of opera’s most coveted leading roles; he likewise succeeded as the conflicted title character. Bringing a tone that has become rounder and more tender with age, Polenzani’s singing was both warm and insistent, and he capped ardent lines with robust top notes. Unfortunately though, Polenzani lost his stamina during his final impassioned aria, only cautiously concluding a triumphant night.

With a creamy mezzosoprano colored by just the right amount of smokiness, Elīna Garanča imbued her portrayal of Sara with great sympathy and expressivity. Up against the exceptional performances of his colleagues, baritone Mariusz Kwiecien’s portrayal of Nottingham was underwhelming. While Kwiecien often brings a wealth charisma to his performances, this outing felt unnaturally forced and was not aided by wooden singing.

McVicar has set the world of Roberto Devereux in the claustrophobic confines of a Jacobean theater that is filled with stunning visuals. The set, designed by McVicar himself, features black wooden walls, gilded ornaments, and imposing viewing galleries that drip with the trademark grandeur of the Tudor court and is enhanced by Paule Constable’s cinematic lighting. Especially noteworthy are the sumptuous costumes by Moritz Junge that utterly transform these modern singers into Elizabethan nobility. Unfortunately, McVicar’s direction did not match the lavish production values, with much of the onstage movement marked by unmotivated action devoid of any real emotional urgency.

Under Maurizio Benini’s baton, the first scene of the opera was thrilling; here each singer performed at his or her vocal and dramatic best. But this energy waned in the scenes that followed. In key moments, Benini chose uncomfortable tempi, and his sluggish pacing of Act 2 robbed the opera’s exhilarating showdown between Elizabeth, Nottingham, and Robert of much of its intensity. Eventually, the performance re-found its vigor with riveting final scenes by Radvanovsky and Polenzani, but this was not enough to save the evening from an overall sense of inconsistency.

In all, this performance, which was loaded with great potential, only partially delivered on expectations. Thanks to three strong vocal performances and attractive aesthetics, Columbia students will still find this an engaging night at the opera. Hopefully, with subsequent performances, the weaker elements can rise to meet these high standards.

Performances of Roberto Devereux continue through April 19 with the April 16 matinee performances being broadcast into movie theaters live in high definition and presented for free on 105.9 FM WQXR. More information can be found online at the Met’s website.

A few days ago, we received a story from a first-year Engineering student about one of their most recent experiences in the subway. In light of the 1 train being shut down this weekend, effectively trapping us uptown, we decided to share it.

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