More than fifty years ago, a Nigerian writer penned the manuscript for a novel that would become one of the most important pieces of literature to impact the 20th century.
Internationally acclaimed author Chinua Achebe died Thursday at the age of 82. A government critic, statesman, and revolutionary writer who has sold more than 12 million copies of "Things Fall Apart," Achebe has influenced generations of Africans as well as contemporary American novelists like Junot Diaz and Ha Jin. Achebe's ability to empower and transform is chronicled through his writing. Below, we highlight seven powerful statements made by the celebrated "father of African literature."
The Philly DoGooder Awards, held tonight at the University of the Arts to fete the best in non-profit video storytelling, announced that they would be doling out awards to Philly.com's own Leah Kauffman for Innovation in Storytelling and City Representative Desiree Peterkin-Bell for Innovation in Urban Mechanics. But the third award, for Innovation in Community Building, went unannounced.
The award goes to HughE Dillon, the proprietor of PhillyChitChat.com and society photographer for Philly.com and the Philly Post, was handed the award by Mayor Michael Nutter, who said that Dillon created a new platform for sharing stories behind the community, through the lens of his camera and the words on his blog.
A time machine is under construction at the Kimmel Center, a massive, high tech sculptural, light, sound and video installation signifying . . . all kinds of stuff.
Stretching more than 100 feet through the Commonwealth Plaza, snaking from the Kimmel;s front door to the entry way to Verizon Hall, the tunnel of past, present and future imagery (and sounds) is the physical centerpiece of the Philadelphia International Festival of the Arts (March 28-April 27). And just one of many free treats that hopefully will draw visitors in on a daily basis.
While the swirling, custom steel grid work is mostly up and the time tunnel will likely be enclosed by week's end, “we’ve got a month to fine tune what goes inside,” said production designer Robert Pyzocha. His team has been brainstorming about the TM since last September and put out a heady artistic proposal which excited regional executives/funders at Dow Chemical, also major sponsors of the Franklin Institute-backed Science Festival returning in April.
Most of these photographs of Paris probably seem like they're paintings or even highly photoshopped images. However, they're not at all. They're actually real photos that were shot in the early 20th century using Autochrome Lumière technology. This technology was created in 1903 by the Lumière Brothers, who are were also apparently the earliest filmmakers in history. Pretty cool, right?
More of the photos can be found HERE.
If notes on staves were New Year’s greetings, the Philadelphia Orchestra sailed a sheaf full of good wishes out into Verizon Hall Monday night. At what he told a sold-out crowd was “the biggest party in town,” Yannick Nézet-Séguin led a program that, Janus-like, glanced back at a year of “great moments and maybe not so great moments,” but looked forward, too.
Everyone knew what he meant. Never uttered was the word “bankruptcy,” but by forming a first half of the program with Haydn’s “Farewell” Symphony and music from Strauss’ Der Rosenkavalier, the orchestra’s music director put sound to his aspirations, and, hopefully, the city’s as well. Goodbye to talk of lawsuits and weighing the orchestra as a going concern, and hello to a silvery bloom. The suite from Strauss’ opera suggests nostalgia, but, more than that, it is gilded with the possibilities of transformation.
Comedy broke out in the Haydn. The composer choreographed the piece as a way of telling his patron that the musicians needed a break, but the Philadelphians added their own gestures as each finished his or her part and exited the stage even while the music continued. Some embraced, while one – perhaps in a gentle rebuke of audience etiquette breaches over the years – pantomimed a cell phone call. Nézet-Séguin left before his last two players, which had the audience in stitches and kept the last wisps of the piece from being heard.
Since 2012 is coming to a close and Instagram just signed up its 100 millionth user, we decided to put together a list of eight Instagrammers we think you should follow in 2013. We asked all of them the same six questions to get a little insight into their life as a phone photographer.
Be sure to let us know if you have any recommendations for us in the comment section.
In these parts, it’s not Christmas time until the man in the white beard says so. That would be Peter Nero.
For more than a dozen years, he has presided over an annual holiday show with his Philly Pops. Nero is stepping down at the end of the season, which means that the current run in Verizon Hall is probably your last-ever chance to hear Enescu, Glière and Mussorgsky as the pike, carp and whitefish of a giant gefilte fish of a Hanukkah medley. Nero’s successor is not a pianist, which also suggests that if this tradition continues, the format won’t feature a jazz pianist who somehow manages to be both erudite and haimish, with a little show-biz humor thrown in for good measure. Nero is the end of the line.
Take his Christmas adaptation of “Gangnam Style” (please). PSY’s video has clocked 925 million hits on YouTube, and that’s good enough for Nero. He put together his own version for Santa, a line of leggy young dancers and a Korean singer from the University of the Arts as Nero chimed in at the punch line (“Oh, Santa baby”). This, obviously, is what a 78-year-old Jew from Brooklyn can do when he really puts his mind to it.
The orchestra is a remarkable chameleon. At Saturday's second family concert of the season, the Philadelphia Orchestra kept changing form - inhabiting a pure classical realm one moment, pops the next.
Conspicuously, the two coexisted in a single piece. Bill Holcombe's 'Twas the Night Before Christmas, conducted by Cristian Măcelaru and narrated by Charlotte Blake Alston (pictured), is a suavely packaged catalog of tunes, from traditional Christmas to Wagner's Siegfried horn call. Sometimes all it takes is a flash of a melody, a micro reference, to illustrate a portion of Clement C. Moore's poem. The piece, brought to the orchestra by its artistic administrator, Jeremy Rothman, was supremely satisfying - but mostly because the orchestra could sway so convincingly between its quick-silver changing idioms.
Young dancers from Pennsylvania Ballet II stepped onto the stage for excerpts from The Nutcracker. Sarah Lee, 19, as Coffee in the "Arabian Dance" was its chief pleasure, assured and poised.