Saturday, November 13, 2010

10/11 The ‘Nutcracker’ Chronicles: The Marathon Begins

November 10, 2010, 3:54 pm — Updated: 9:21 am -->
The ‘Nutcracker’ Chronicles: The Marathon Begins
By ALASTAIR MACAULAY

A scene from New York City Ballet’s production of “George Balanchine’s The Nutcracker.”

Readers who ever shared the stage with Drosselmeyer, watched a loved one dance with him or simply attended a cherished performance of “The Nutcracker” — I have a request: send us your photo memories and comments on this very American holiday classic.
Why, you ask? I’m about to undertake a “Nutcracker” marathon. Starting with two stagings of the seasonal classic before Thanksgiving, I hope to catch as many productions of this institutional Christmas ballet as I can around the United States, from coast to coast.
This won’t be some quantitative competition. Most of America’s “Nutcracker”s all happen on the same three weekends in December. I could see more, but only by taking all-day flights that arrived on time. Every time. In winter. As it is, the airline and ballet industries could alter my plans. But I mean to see at least 20 productions, some of them more than once.
Even seasoned ballet-goers shake their heads ruefully at news of this project. “The Nutcracker,” not my favorite ballet, played no part in my own childhood. But I’m hoping that the connections between “The Nutcracker” and America — connections I explore in this essay for Arts & Leisure — will lead me to discover both the ballet and the country in greater depth.
It’s not as if every company’s “Nutcracker” is alike. Far from it. In Balanchine’s version, at City Ballet this month, the Nutcracker and the heroine are children; they watch the climactic adagio danced by the Sugar Plum Fairy ballerina and her cavalier. In Alexei Ratmansky’s, a premiere being danced by American Ballet Theater next month at the Brooklyn Academy of Music, the hero and heroine are also children, but the couple who dance the great adagio are their imaginary visions of themselves. In Mark Morris’s “Hard Nut,” also at BAM next month, the children are played by adults, and in the adagio they are joined in love by a whole community of couples. And this only scrapes the surface of “Nutcracker” variations.
It is, of course, possible that by the end of December I will never want to see another “Nutcracker.” But I’ve already seen many over the last 30 years, and I’m still finding more in the music and the ballet’s implications.
Surely I’m not alone in my “Nutcracker” explorations. Help me in my project by sending in your memories. Submit your photos here and comments below. A gallery of reader photos will be posted on nytimes.com. And check back in with ArtsBeat over the next six weeks as I report on my travels.

23/10 NYT, The Range of Electronica, Cathedral to Jubilant

October 23, 2010, 2:09 pm — Updated: 2:38 pm -->
The Range of Electronica, Cathedral to Jubilant
By JON PARELES




Chad Batka for The New York Times
Gold Panda performing at Webster Hall on Friday.


I bookended Friday night with electronica: two Englishmen, Gold Panda and Jon Hopkins, early and the laptopper Baths late. All three traded in disorientation nearly as much as dance beats, but the early shift was far more decorous.

Gold Panda’s set was a ruminative travelogue through a sample library full of exotica: a jet plane landing, tinkling little bells, a non-Western violin, oohing female voices, a raga played on a sitar and joined by singers. The beat drifted in and out — Gold Panda doesn’t worry whether anyone’s dancing — and wasn’t elaborate, usually just a modest midtempo thump: the harmony was mostly minor keys. Ambiance for a serious dinner-party discussion of global affairs.

Jon Hopkins, who collaborates on Brian Eno’s impending album “Small Craft on a Milk Sea,” started with low, slow thuds. He wasn’t going to waste his subwoofers, and soon he’d be doing his version of hip-hop’s gangsta boom-bap, reveling in the elephantine and throwing in some Wu Tang-style static. Up above, though, were far prettier sounds: quasi-Baroque figures, cathedral chords in rounded (and Eno-esque) keyboard tones. With the pomp grounded by the crunch, it suggested a classical education sidetracked by the beat, and Mr. Hopkins wasn’t too arty to wind up with more crowd-pleasing trance bangers.

Baths was noisier and more jubilant. His music bashed and lurched, from a laptop full of untamed sounds. His bass drums were swampy, his snares and tom-toms twitched and ran forward and backward, his beats stumbled and caught themselves as they were jolted by joy-buzzer zaps and whoopie-cushion interruptions. Amid the tipsy momentum, he had overdubbed himself into falsetto chorales that he topped, live, with what was left of his voice after many CMJ sets. “It’s a crazy, beautiful day,” he sang, and made it true.


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October 21, 2010, 10:23 am — Updated: 10:33 am -->
Popcast: CMJ, Shakira and Rock Globalism
By THE NEW YORK TIMES

This week on Popcast, The Times’s music podcast, we look at two rock ‘n’ roll globalists and highlight one of the more than 1,000 bands in New York this week for the CMJ Music Marathon.

Discussing his Arts & Leisure feature on Shakira, Jon Pareles, our chief pop critic, says that her multicultural hodgepodge is Shakira’s great strength. “She’s Lebanese-Italian-Colombian, and she’s at her best when all of those aspects are out,” he says in the conversation. “She’s very much an international creature, and it’s nice from a U.S. perspective to see someone who doesn’t want to be an American, doesn’t want to copy everything we do, but who has her own local flavor to add to it.”

And Eugene Hutz, the Ukrainian-born leader of the long-running New York Gypsy-punk band Gogol Bordello, talks about the immigrant’s experience, and “combating ignorance with true understanding of the planet.”

A look at globalism in rock, with Jon Pareles and a performance by Tamaryn.(mp3)
Also on Popcast, the New York-San Francisco band Tamaryn plays its song “Haze Interior” live in the studio and explains the CMJ whirlwind from an artist’s perspective. Ben Sisario is the host.

03/11 Popcast: Latin Music Special

November 3, 2010, 1:03 pm — Updated: 10:19 am -->
Popcast: Latin Music Special
By THE NEW YORK TIMES

This week’s Popcast, The Times’s music podcast, takes a look at Latin music with Times critics and reporters on the short history of the Latin Grammys and the long and tangled history of the Cuban-American jazz exchange.

First Jon Pareles, the chief pop critic, previews next week’s Latin Grammy Awards, with some of his favorites in the major categories and a look at the influence of the show in its 11th year. This year’s ceremony will be held in Las Vegas on Nov. 11, and broadcast live by Univision.

And in a special roundtable discussion, Ben Ratliff, a pop and jazz critic, and Larry Rohter, a cultural reporter and longtime Latin America correspondent, talk with Ben Sisario about how jazz has benefited from Washington’s recent loosening of travel restrictions to and from Cuba. Wynton Marsalis’s Jazz at Lincoln Center Orchestra has played in Havana, and Chucho Valdés, an acclaimed Cuban pianist, recently played in New York for the first time in seven years. But there are still obstacles to open cultural exchange.

Jon Pareles previews next week’s Latin Grammys, and Times music writers discuss the history of Cuban-American jazz relations. (mp3)

“The problem is that there are laws in place that you can try to fudge, but you can only go to certain limits,” Mr. Rohter says in the conversation, excerpts of which can also be read here. “The issue of spending money in Cuba, and Cuban artists coming to the United States and earning money, they’re really sticklers on that. That puts a certain natural limit on how much can be done, until there’s legislative reform here, and until there is a loosening of the travel restrictions that the Cuban government imposes on its citizens.”

More Latin music from the Popcast interview and performance archives: Bebel Gilberto, Camilo Lara of Mexican Institute of Sound, Garotas Suecas.

11/11 At C.M.A. Awards, Nashville Shake-Up Goes On

Music Review
At C.M.A. Awards, Nashville Shake-Up Goes On
By JON CARAMANICA
Published: November 11, 2010

When Blake Shelton and Miranda Lambert met in 2005, she was a Nashville reality show survivor with one critically acclaimed album and he was a grinning goofball who even in his best moments had the feel of a country music journeyman made good.

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Brad Paisley accepted the Entertainer of the
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Miranda Lambert won three music awards,
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In May, they were engaged, and Wednesday night, at the 44th edition of the Country Music Association Awards, which were broadcast on ABC from the Bridgestone Arena in Nashville, they became country music’s unlikely new first couple.

Ms. Lambert, a pleasantly unvarnished singer in the 1970s mold, won three awards, including Female Vocalist of the Year and Album of the Year (for “Revolution”), and one of her singles, “The House That Built Me,” won Song of the Year. Mr. Shelton, an ambassador of country music’s emergent frat wing, won a pair of awards, including Male Vocalist of the Year. His other win, for Musical Event of the Year, was for “Hillbilly Bone,” his rural-pride duet with Trace Adkins.

Their victories continued, in a smaller way, the disruption to the Nashville pecking order that was so blatant at last year’s CMAs, when the teenage star Taylor Swift won four awards, including Album of the Year, and Darius Rucker won New Artist of the Year, the first black artist so honored.

Those victories — upsets, really — were only some of the signs that Nashville was coming to terms with a new establishment. The rise of Mr. Shelton and Ms. Lambert, who was nominated nine times in seven categories, and who has had to survive in the long shadows of Ms. Swift and Carrie Underwood in recent years, is a repudiation of some of the bigness that came to define country music in the late 1980s and 1990s and that spilled over into the last decade in the form of stars like George Strait, Alan Jackson, Reba McEntire and more. The same is true for Lady Antebellum, whose soft-rock take on country harmonies earned a pair of awards, for Single of the Year (the sublime “Need You Now”) and Vocal Group of the Year.

As ever, the show was efficient, with only nine televised award presentations (three more were handed out before the show) squeezed in between more than twice as many performances. There were strong turns by Sugarland, which won Vocal Duo of the Year for the fourth year running — the closest this year’s awards came to predictability — Kenny Chesney on his football memoir “The Boys of Fall,” and Ms. Swift, with a purposefully low-key rendition of “Back to December,” during which she never got up from behind her piano. Ms. McEntire’s cover of Beyoncé’s “If I Were A Boy” was forceful, but Mr. Strait, the night’s other representative of the old guard, sounded noticeably frail and tentative in his performance of “The Breath You Take.”
The show also featured several pairings of younger artists with more established singers — there is new blood in Nashville, though many of those singers are less seasoned, and less gifted, than the veterans they’re unseating.

The Zac Brown Band, which won New Artist of the Year, was joined by Alan Jackson on their duet “As She’s Walking Away,” with Mr. Jackson achieving more with the barest of effort than Mr. Brown, whose huffing and puffing had real limitations. “Don’t You Wanna Say,” a duet by Jason Aldean and Kelly Clarkson, one of the most powerful singers in any genre, initially appeared like a mismatch, but Mr. Aldean made the most of his insistent, grizzled tone.
That Gwyneth Paltrow was joined by Vince Gill for the live premiere of “Country Strong,” the title track of the forthcoming film in which she plays a country star bouncing back from addiction, wasn’t a surprise. The surprise was that she didn’t need his steadying hand nearly as much as some of the night’s other performers.

“It takes a lot to come to our town and get up here and sing on our stage,” Ms. Underwood said to Ms. Paltrow at the beginning of the night, a compliment that sounded somehow sinister.
As it was last year, the ceremony was hosted by Brad Paisley and Ms. Underwood, who may prove to be a durable pair. In the spirit of Billy Crystal, but in tune, they opened with a mildly jabbing musical number, referring to the BP oil spill and the sexual peccadilloes of Tiger Woods and Brett Favre, and noting, “Nashville had a flood, and we barely made the news.”

Mr. Paisley won Entertainer of the Year, the night’s top prize, but by the time it was announced it was something of an afterthought, his tearful speech notwithstanding. He also used the show to unveil a new song, “This Is Country Music,” a savvy advertisement for the genre that nodded to hits of yesteryear.

But while Mr. Paisley is preparing for his spot as a part of the next old guard, he’s not afraid of a little mischief. He didn’t shy away from working blue — albeit very, very light blue. “After the night that Blake and Miranda are having,” he said, “I think we can expect a baby in about nine months.”

A version of this review appeared in print on November 11, 2010, on page A24 of the New York edition.

Thursday, November 11, 2010

2010 và những bộ phim Việt đáng chú ý

'Bi, đừng sợ', 'Cánh đồng bất tận' và 'Để mai tính' hứa hẹn là những tác phẩm điện ảnh sẽ mang tới cho khán giả nhiều trải nghiệm lý thú trong năm nay.

Hai bộ phim nghệ thuật hứa hẹn sẽ góp tiếng nói của điện ảnh Việt trên trường quốc tế. Hai bộ phim giải trí được làm chuyên nghiệp có khả năng hấp dẫn khán giả nội địa. Hai bộ phim thuộc dòng “cúng cụ” cũng sẽ là tiêu điểm khi ra mắt vào dịp kỷ niệm đặc biệt. Đó là những tác phẩm điện ảnh đáng chú ý nhất của Việt Nam trong năm 2010.

Bi, đừng sợ



Ê-kíp làm phim Bi, đừng sợ


Dù đây mới là phim truyện đầu tay của nhà làm phim trẻ Phan Đăng Di nhưng đã được chú ý từ trước khi bấm máy vào tháng 8/2009. Khi còn ở dạng kịch bản hay dự án tiền sản xuất, Bi, đừng sợ đã lọt vào mắt xanh của một số quỹ hỗ trợ điện ảnh của các LHP quốc tế lớn như Pusan Promotion Plan của LHP Pusan, L’Atelier của LHP Cannes và World Cinema Fund của LHP Berlin.

Biên kịch - Đạo diễn: Phan Đăng Di
Trợ lý đạo diễn: Jenny Trang Lê
Nhà sản xuất: Nguyễn Bảo Mai - Nguyễn Hoàng Điệp
Quay phim: Phạm Quang Minh
Diễn viên: Hoa Thúy, Kiều Trinh, Mai Châu, Trần Tiến, Hà Phong, Phan Thanh Minh


Câu chuyện về một gia đình Hà Nội qua con mắt một cậu bé 7 tuổi, cùng những cảm xúc, bi kịch riêng tư của các thành viên… cũng đã thuyết phục được nhiều đơn vị sản xuất kinh nghiệm trong nước. Mặc dù gặp khó khăn khi sát ngày khởi quay, nhà sản xuất kiêm đầu tư chính là hãng phim Chánh Phương rút lui, đoàn làm phim đã nhận được sự hỗ trợ nhiệt tình từ các hãng phim BHD (đơn vị quyên vốn đầu tư), Sud-Est…

Theo thông tin của chúng tôi, bộ phim đã được quỹ Fonds Sud của Pháp tài trợ hơn 100 ngàn USD cho phần hậu kỳ. Ê-kip làm phim hiện đang trong giai đoạn làm âm thanh để cố gắng hoàn thành trước LHP Cannes 2010. Đây hứa hẹn sẽ là bộ phim tiếp bước Chơi vơi tạo nên sự chú ý với điện ảnh Việt năm nay.

Cánh đồng bất tận

Năm 2006, khi Cánh đồng bất tận của nhà văn Nguyễn Ngọc Tư còn xôn xao trên văn đàn, hãng phim Việt đã nhanh tay “xí phần” làm phim bằng việc mua bản quyền tác phẩm này trong vòng 10 năm với giá khá rẻ: 15 triệu đồng.


Cánh đồng bất tận có mặt 2 bông sen Vàng nam nữ diễn viên xuất sắc của 2 kỳ LHP là Dustin Nguyễn và Đỗ Hải Yến

Biên kịch: Ngụy Ngữ - Nguyễn Hồ
Đạo diễn: Nguyễn Phan Quang Bình
Trợ lý đạo diễn: Lý Thái Dũng
Quay phim: Nguyễn Tranh
Diễn viên: Dustin Nguyễn, Đỗ Hải Yến, Dương Lan Ngọc, Võ Thanh Hòa, Tăng Thanh Hà…


Đây là phim truyện nhựa thứ ba của Nguyễn Phan Quang Bình (sau phim nghệ thuật Vũ khúc con cò hợp tác với Singapore và phim thương mại 39 độ yêu chuyển từ phim truyền hình cùng tên của cùng ê-kip). Dù tên anh chưa có nhiều sức nặng ở vai trò đạo diễn, nhưng kinh nghiệm và tầm nhìn của ông chủ một trong những hãng phim tư nhân năng động nhất nước này đủ để kỳ vọng.

Câu chuyện độc đáo và những nhân vật đặc biệt (một người cha với sự đổ vỡ, lòng hận thù sau khi vợ bỏ đi theo giai, những người con với hoàn cảnh trưởng thành khắc nghiệt, một cô gái điếm bị cuộc đời xua đuổi vẫn đầy yêu thương và thông cảm)… trên bối cảnh miền Tây Nam Bộ mênh mông, hoang dã là chất liệu tuyệt vời cho một tác phẩm điện ảnh.

Sự thành công của tác phẩm văn học chắc chắn tạo được sự trông chờ của khán giả đối với bộ phim. Một ê-kíp chuyên nghiệp ở nhiều thành phần biên kịch, trợ lý đạo diễn, giám đốc hình ảnh và diễn viên… đủ để yên tâm chất lượng. Kinh nghiệm từ việc tiếp cận các LHP quốc tế của đơn vị sản xuất hứa hẹn sẽ đưa tác phẩm đi xa hơn.

Để mai tính

Với Để mai tính, có nhiều cơ sở để hy vọng thưởng thức một tác phẩm điện ảnh giải trí thú vị vì đứng sau bộ phim là Charlie Nguyễn, tác giả của Dòng máu anh hùng từng rất thành công cả ở 2 mặt thương mại và nghệ thuật.


Đạo diễn Charlie Nguyễn vào vai một doanh nhân bên cạnh người đẹp Kathy Uyên.

Biên kịch: Dustin Nguyễn
Đạo diễn: Charlie Nguyễn
Nhà sản xuất: Irene Trinh, Dustin Nguyễn
Quay phim: Dominique Perreira
Diễn viên: Dustin Nguyễn, Kathy Uyên, Thái Hòa, Charlie Nguyễn


Đây cũng có thể coi là phim tiêu biểu của dòng phim xa xứ khi hội tụ một dàn nghệ sỹ Việt kiều ở mọi thành phần: từ biên kịch, đạo diễn, nhà sản xuất, dựng phim, diễn viên chính… Thực ra, các nghệ sỹ đa năng đã kiêm nhiệm nhiều vai trò trong đoàn phim như Dustin Nguyễn vừa là người viết kịch bản vừa làm diễn viên và nhà sản xuất, còn Charlie Nguyễn vừa làm đạo diễn đồng thời tham gia diễn xuất…

Không PR rầm rộ như nhiều tác phẩm điện ảnh thương mại khác, Để mai tính tiếp cận khán giả theo cách riêng độc đáo. Lần đầu tiên, một seri nhật ký hậu trường ghi lại những hình ảnh trong quá trình quay phim lên sóng truyền hình trước khi phim ra rạp.

Thuộc dòng phim tâm lý hài lãng mạn vốn hợp thị hiếu khán giả trên thị trường điện ảnh nội địa, một ê-kíp làm phim chuyên nghiệp với lối tư duy hiện đại cùng với những bối cảnh sang trọng, lãng mạn tại TP HCM, Nha Trang và Hà Nội… đây là bộ phim rất đáng được chờ đợi khi ra mắt vào dịp tháng 4 năm nay.

Theo VnMedia

Vũ Thu Phương mở quán tìm bình an

- Khi mọi người nô nức vì lễ tết, chân dài lắm chiêu này lại tất bật chuẩn bị hàng trăm thứ việc cho một quán cafe tên An.

Nhìn lại năm qua, Thu Phương khá hài lòng khi hoàn thành hai vai diễn “đình đám” trong phim Cô nàng bất đắc dĩ và phim nhựa đầu tay Giao lộ định mệnh. Hai vai diễn này khiến chân dài hàng đầu của sàn catwalk Việt mất ăn mất ngủ suốt một thời gian dài. Áp lực của một chân dài đi đóng phim khiến Cô nàng bất đắc dĩ phải nỗ lực rất nhiều.


Siêu mẫu kiêm diễn viên tạo dáng tại quán cafe có gu thẩm mỹ rất đặc trưng của mình



Muốn thư giãn và nghỉ ngơi, cô quyết định mở quán café tên An. Đó cũng chính là ước mơ bình an đối với một người tham công tiếc việc như Thu Phương. Bên cạnh đó, cô cũng muốn tạo cơ hội 'khoe' gu thẩm mỹ trong việc decor.

Cô nàng bất đắc dĩ tâm sự: “Mới khai trương hai ngày nhưng giọng của Phương khản đặc cả rồi. Bạn bè, người thân rồi các fan hâm mộ tới chúc mừng nhiều lắm. Mệt nhưng vui! Nhìn lại 'công trình' của mình, nhìn lại quãng thời gian ngắn vừa bỏ ra, Phương thấy rất hạnh phúc. Mong mọi việc sẽ thuận buồm xuôi gió để tới giữa năm, Phương có đủ tự tin thực hiện dự án lớn nhất trong sự nghiệp của mình. Tạm thời Phương chưa thể tiết lộ bất cứ điều gì để các bạn còn thấy hấp dẫn!"

Trước khi khám phá dự án này, mời các bạn cùng Zing ngắm qua cafe An của Vũ Thu Phương nhé!





Khách vào quán sẽ có dịp thả mình trên những chiếc xích đu rất độc đáo





Vũ Thu Phương và mẹ rất tất bật trong những ngày đầu tiên khai trương cafe An



Ngồi trong quán, bạn có cơ hội ngắm phố xá đông đúc







Ngoài những chiếc bàn ghế được làm bằng tre, cafe An còn gây ấn tượng bởi một chiếc hồ nhỏ rất trữ tình!





Cô chủ xinh đẹp làm duyên cùng hoa sen





Chiếc cầu thang dẫn lên lầu được thiết kế rất... lạ và đẹp mắt












Tầng trên của quán là một không gian thoáng đãng nhưng không kém phần lãng mạn




Khách đến đây có thể tâm tình, trò chuyện thoải mái cùng bạn bè






Hai chiếc xích đu lạ mặt khiến không gian của quán càng... độc hơn!

Wednesday, November 10, 2010

Meet Zlata: Squeeze Herself into Fridge


By: John Stevens | Nov 10, 2010 
Meet Zlata, the former Russian gymnast, is among the world’s best contortionists. Zlata realized she had the amazing talent when she was four years old. At the height of 1m79 and the weight of 58 kilos, Zalate uses most of her day working out and training for shows around the world.

Contortion is an unusual form of physical display which relates to the dramatic blending and flexing of the human body. Contortionists often have unusual natural flexibility which is then improved through gymnastic training. Most contortionists are divided into frontbenders or backbenders depending on the direction in which their spine is more flexible. One of the most favorite acts of Zlata is bending herself backwards at a perfect 90 degree angle. The act nearly cuts her in half so the back of her hands can touch her heels.


Zlata, 24 year old, put herself inside a fridge. She has been performing this act for 10 years
Meet Zlata, 24 year old, puts herself inside a fridge. She has been performing this act for 10 years

10/11 Photorealism - vẽ tranh chân thực như ảnh chụp

Thứ tư, 10/11/2010, 00:00

Nghệ thuật vẽ tranh Photorealism cho phép chụp ảnh để lấy mẫu rồi dựa vào đó tạo ra những tác phẩm giống hệt bên ngoài cuộc sống.
>Những bức tranh vẽ siêu thực đỉnh cao

Angelina Jolie.
Chương Tử Di.
Sandra Bullock.
Cô gái và hình xăm.
Cô dâu hạnh phúc trong ngày cưới.
Nụ cười hồn nhiên.
Quý phái.
Xem thêm tranh Photorealism.
Thế Mạnh (Ảnh: Hongkiat)
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Tuesday, November 9, 2010

05/11 For Long Term, Men Favor Face Over Figure

Studied
For Long Term, Men Favor Face Over Figure
Joerg Steffens/Corbis
By PAMELA PAUL
Published: November 5, 2010


THE GIST Men keen on a short-term relationship are more interested in checking out a woman’s body than are those looking for long-term love.

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THE SOURCE “More Than Just a Pretty Face: Men’s Priority Shifts Toward Bodily Attractiveness in Short-Term Versus Long-Term Mating Contexts” by Jaime C. Confer, Carin Perilloux and David M. Buss, Evolution and Human Behavior.

Never mind those last 10 pounds. According to a new study, men care more about a woman’s face than they do about her body when seeking a long-term relationship.

To determine how men and women rank the relative importance of face versus body, the authors — Jaime C. Confer, a graduate student of psychology; Carin Perilloux, another graduate student; and David M. Buss, a professor of psychology at the University of Texas at Austin — showed 375 heterosexual college students an image of a person with head and body covered up, and described the person as either a potential short- or long-term mate.

Participants then had the option of looking at either the head or body, but not both. Later, they were asked to rate how much more important the face or body was, depending on which they elected to reveal.

Women treated bodies and faces alike, independent of short- or long-term interest. Men, however, made a distinction between face and figure, depending on their intent. Among male participants, 25 percent of those who were told to consider the person as a long-term partner chose to see the figure, compared with 51 percent who chose the body if they were looking at a potential short-term partner.

Here is how the authors explain it: a woman’s face and body signify different things, they say. To put it in clinical terms, facial features are cues of youth and health, and features like large eyes are feminine because “they are sensitive to the rise in estrogen levels that accompanies puberty and persists through a woman’s reproductive lifespan.” This would indicate long-term reproductive value; that is, the time a woman has left to reproduce.

The body, meanwhile, signifies fertility in the here and now. A young and comely pregnant woman, for example, would have a high reproductive value but zero current fertility potential — she is clearly already taken. Evolutionary psychology theory holds that men value current fertility (body) more in a short-term mate and reproductive value (face) in the long term.

But there may be more to a pretty face. “The face is a signifier of emotion and character,” said Roy F. Baumeister, the author of a new book, “Is There Anything Good About Men?” (Oxford University Press). “Men who want a long-term relationship aren’t just interested in reproductive value; they’re also looking for emotional intimacy.”

Does the study sell men’s sights short? “One of the biggest limitations is we didn’t ask participants why they chose face or body,” Ms. Confer said. “We just assumed they were looking to evaluate attractiveness, but it could have been many other things — personality type, whether there would be a connection. We didn’t even think of it afterward — it was an oversight.” Seems as if it’s not only what men look at in potential mates, but also how they view them that counts.

A version of this article appeared in print on November 7, 2010, on page ST6 of the New York edition.

Tax Cut Timing Is Proving Problematic for Democrats

Political Memo
By JACKIE CALMES
Published: November 8, 2010

WASHINGTON — When one party controls the White House and Congress, it controls the calendar for what gets done and when. So how is it that Democrats ended up in such a fix over what to do about the expiring Bush-era tax cuts?

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Jim Wilson/The New York Times
Senator Harry Reid, the majority leader, was urged not to push for debate on the Bush tax cuts before the midterm elections.

Related
‘Blame the Blue Dogs’ Theory for Democratic Losses Doesn’t Add Up (November 9,
2010)
No. 2 House Democrat Will Try to Retain Post (November 9, 2010)
Times Topic:
Bush-Era Tax Cuts

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That is what many Democrats are asking.

By dint of calculation and miscalculation, after mixed messages and missed signals, President Obama and Congressional Democratic leaders delayed debate until before the midterm elections. They dared Republicans to fight for extending the tax cuts for the rich and, in so doing, “hold hostage” those for the middle class. But it was Democrats who blinked as their ranks splintered in the heat of a worsening electoral climate, and they delayed any vote until after the elections.
Now, with the tax cuts due to expire Dec. 31, the debate finally commences next week in a lame-duck session, with Democrats weakened, Republicans emboldened by the election results and the tepid economy continuing to provide some argument against letting rates rise even for the highest income levels.

For every election since the Bush tax cuts became law in 2001 and 2003, a central plank of Democrats’ campaign platforms has been to repeal them for high-income brackets — to pay for other programs, like expanded health care, or to reduce budget deficits.

By Mr. Obama’s election, however, the financial system had nearly collapsed and the economy was in recession. He and Congressional Democrats quietly decided to let the Bush tax cuts remain in place for income above $250,000 for couples, and $200,000 for individuals, until their scheduled expiration at the end of 2010.

The economy’s continued slow growth largely explains why ending those tax cuts, which apply to about 2 percent of Americans, proved easier said than done for Democrats. But other factors also explain their vacillation this year, including a crowded legislative agenda, the worsening political headwinds and, perhaps most of all, Democrats’ chronic insecurity about dealing with tax issues.
A year ago this month, political and economic advisers at the White House first held a series of meetings on what to do about the tax cuts in the coming year. There was no consensus; advisers would shift positions with time and circumstances.

And a vicious circle took hold, according to interviews over past months with Democrats in the administration and Congress: Mr. Obama largely deferred to Democratic leaders — the Senate majority leader, Harry Reid of Nevada, was among those in tough re-election races — while Democrats looked to the president to take the lead and make the case against extending the tax cuts for high incomes.

Mr. Obama’s budget early this year called for permanently extending the tax cuts except on high incomes, but administration officials signaled to Democrats that he could support a short-term extension of one or two years. That would reduce deficit projections and, the officials reckoned, provide an impetus for overhauling and simplifying the tax code before the middle-class tax rates expired again.

In February, Democrats believed the issue was effectively settled when they passed and Mr. Obama signed the so-called pay-go law, for “pay as you go,” requiring that the cost of new spending or new tax cuts be offset by spending cuts or tax increases of equal value to avoid adding to annual deficits.

Among the law’s major exceptions: The tax rates for income up to $250,000 could be extended without offsetting savings, at a cost of roughly $3 trillion over 10 years. Not so for rates on higher income. The fiscally conservative Blue Dog Democrats persuaded liberals to support the pay-go bill partly by arguing that Republicans could not find the $700 billion needed to offset a long-term extension of top rates.

The tax issue remained on a backburner month after month as Democrats were preoccupied with the health care law, the overhaul of financial regulations and other issues. Still, the administration remained confident that the House, led by Speaker Nancy Pelosi, ultimately would block any extension of the top rates.

But by summer, with the recovery stalled and more of them on handicappers’ endangered lists, House Democrats refused to vote on the tax cuts before the Senate did. They feared they would endure Republicans’ charge that they had voted to raise taxes on some small businesses, only to see the legislation languish in the Senate like other bills had.

Ms. Pelosi informed the White House of the House Democratic position. At a meeting before Congress recessed for August, to the surprise of others, Mr. Reid assured her and Mr. Obama that the Senate would vote in September to extend only the middle-income rates.

But when Congress returned, party pollsters and consultants battled over the right course, each side interpreting polling data to its advantage.

One camp believed, as Stan Greenberg and James Carville wrote in a Sept. 15 memorandum, that “Democrats Should Want This Tax Cut Debate.” They argued that it would define the election as a choice between Democrats for the middle class and deficit reduction, against Republicans for Wall Street and more debt.

Another camp countered that in an already bad year, Democrats were especially vulnerable to the “tax and spend” label. As the pollster Mark Mellman summed the argument in an interview, “An election that’s dominated by the tax issue is a bad election for Democrats everywhere, anywhere and always.”

By then several moderate Senate Democrats who were not up for re-election — Evan Bayh of Indiana, Ben Nelson of Nebraska and Kent Conrad of North Dakota — had expressed opposition to letting the top rates expire because of the economy’s fragility. That suggested Senate Democrats could not muster the 60 votes to overcome a Republican filibuster, further unnerving Democrats struggling for re-election.

Several, including Senators Barbara Boxer of California and Patty Murray of Washington, implored Mr. Reid not to force the debate. He agreed. All three won re-election.

The day after the election, Mr. Obama said he was open to compromise with Republicans.

A version of this article appeared in print on November 9, 2010, on page A24 of the New York edition.

AuFeminin Looks to Expand Its Reach

By ERIC PFANNER
Published: November 7, 2010

PARIS — Got a question about work, parenthood, sex or shopping? About how to balance all of these in a 24-hour day? Or, perhaps, about whether to serve red, white or rosé with a blanquette de veau?

For 12 million French women, there is a single place to turn: auFeminin.com, a Web portal that offers advice on all of these things and many more, from its own editorial staff and from other women who visit.

AuFeminin, which was started in 1999 by a French husband-and-wife team, has grown into a rare example of a European Internet company that is a world leader in its field. With a global following of more than 37 million, according to ComScore, an audience measurement firm, auFeminin rivals American women-focused Web destinations like iVillage.com and Sheknows.com.

Increasingly, sites like these are filling the role once played in many women’s lives by glossy magazines, whose circulation has stagnated in many developed countries. Web sites like auFeminin add an interactive element, in the form of online discussion forums.

“The real difference between men and women is that women need to talk, and that is the same everywhere in the world,” said Marie-Laure Sauty de Chalon, chief executive of auFeminin, during an interview at the company’s Paris headquarters.

The growth of auFeminin is underpinned by favorable demographic trends in the digital world. According to ComScore, women account for 46 percent of the global online population, but that portion has been growing, and in North America women are already in the majority. Female Internet users spend 8 percent more time online per month than men, an average total of 24.8 hours, according to ComScore.

Now auFeminin, having conquered its domestic market, is thinking bigger. Over the next year, it wants to open sites in Brazil, China, India, Russia and the Arabic world, with a substantial investment from Axel Springer, the German publisher, which acquired a controlling stake in the company three years ago.

“There are only 30 million women in France, so our growth is going to have to come from somewhere else,” Ms. Sauty de Chalon said.

So far, international expansion has been had mixed results for auFeminin. Spinoff sites like goFeminin.de in Germany and oFeminin.pl in Poland have done well, for example, while soFeminine.co.uk in Britain has struggled in a crowded English-language market. AuFeminin also has established a presence in several countries with geographical, linguistic or historical ties to France, like Canada, Vietnam and Morocco.

France still accounts for a majority of the business, and it is generating strong growth in advertising, the company’s primary source of revenue. For the first nine months of this year, auFeminin reported net income of €6.4 million, up 92 percent from the level of a year earlier, as revenue rose 39 percent, to €27.6 million.

While shares of auFeminin, which are traded in Paris, have slumped since the takeover by Axel Springer, the company’s contribution to Springer’s bottom line has encouraged Springer to pursue another French Web company, the classified real estate advertising service SeLoger.com.
“They have hit on a very successful content proposition,” said Mike Shaw, director of marketing solutions at ComScore, which counts auFeminin among its clients. “They understand the female mind-set, and that is scalable. You don’t have to rediscover the secret sauce in every language.”

As it expands, auFeminin is bumping up against tougher competition, both internationally and at home. In France, the company’s success has attracted imitators like the Web sites Journal des Femmes and Terrafemina, as well as revamped online efforts from women’s magazines like Elle and Marie Claire.

At home and abroad, auFeminin increasingly finds itself competing with Glam Media, a U.S. operator of online advertising networks. Glam operates only a handful of its own sites, but groups together other women-focused sites so that marketers can reach large audiences with a single ad purchase. Its networks reach 180 million people worldwide, according to ComScore.

Outside the United States, Glam is strong in Germany, where it has a partnership with the magazine publisher Hubert Burda Media, and it recently set up shop in France. Glam is racing auFeminin to enter China and India, and it has a fast-growing network in Japan.

“One of the advantages we have in the long term is that we are a global company, and digital advertisers are starting to look more for international solutions,” said Ernie Cigogna, general manager of Glam Media International. “AuFeminin is primarily European.”

Ms. Sauty de Chalon said auFeminin had no plans to enter the biggest Internet market, the United States, saying competition there was already too fierce. With articles, videos and user contributions on topics ranging from current affairs to cooking, AuFeminin is also similar to iVillage, part of NBC Universal, which counts more than 45 million monthly visitors, ComScore says.

But three-quarters of iVillage’s audience is in the United States. In France and other markets, auFeminin competes with U.S. Internet companies like Google and Facebook for advertisers’ spending and women’s attention.

While auFeminin relies heavily on Google’s search engine as a source of traffic, Ms. Sauty de Chalon was quick to point out what she described as philosophical differences between auFeminin and U.S. Internet companies.

While Google and Facebook have drawn criticism in Europe for their handling of consumer data, for example, auFeminin treats privacy as a top priority, she said. Contributors to its forums are allowed to use pseudonyms.

And, in contrast to the anything-goes discussions that take place in some Internet forums, moderators of auFeminin’s discussions wield considerable power to direct or censor them according to local standards. In France, for example, where surrogate pregnancies are against the law, auFeminin bans discussion of the topic.

Talk of race or ethnicity is also frowned upon, and certain terms are blocked by the moderators. “I don’t believe in absolute freedom of speech,” Ms. Sauty de Chalon said. “It cannot be put ahead of human rights.”

Ms. Sauty de Chalon makes no apologies for her French worldview. As her company expands into new markets, she said, the best marketing for auFeminin may be its users.

“I think French women represent something,” Ms. Sauty de Chalon said. “We don’t defend feminism. Women of 30 are done with that. We want to be treated fairly, equally. What we defend is femininity. That, I think, is a French specialty.”

Where Marijuana Is a Point of Pride

Nederland Journal
Where Marijuana Is a Point of Pride

Matthew Staver for The New York Times
Susan Eisman inside Grateful Meds medical marijuana dispensary in Nederland, Colorado.
By KIRK JOHNSON
Published: November 7, 2010

NEDERLAND, Colo. — Millions of Americans expressed their feelings about marijuana last week. In Colorado, 24 communities voted to ban or restrict shops selling legal medical marijuana. In California, voters wrestled with the question of legalization for recreational use — with issues of health, crime and taxes all coming into play — then voted no.

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Downtown Nederland, Colorado.


But here in Nederland, it was just another beautiful day high in the mountains.

Marijuana has been mainstream in this outpost of the counterculture, 8,000 feet in the Rockies and an hour northwest of Denver, since the days of Bob Marley’s cigar-size “spliffs” and the jokes of Cheech and Chong.

And to judge by the numbers, things have not changed all that much.

An explosion of medical marijuana sales over the last year in Colorado as well as the District of Columbia and the 13 other states where medical use is allowed has certainly brought a new element into the mix. Dispensaries like Grateful Meds, one of seven medical marijuana providers in Nederland, population 1,400, now have legal compliance lawyers on retainer and sales tax receipts in the cash drawer.

But marijuana is still marijuana, and Nederland’s perch overlooking what John Denver immortalized as “the Colorado Rocky Mountain high” has not budged.

State records show that by some coincidence, the concentration of medical marijuana patients and dispensaries selling medicinal cannabis is higher here in Colorado’s old hippie heartland than in any other corner of the state.

In Gilpin County, for example, which begins at Nederland’s doorstep, almost one in 20 residents qualify for cannabis treatment — the highest level in Colorado and more than three times the statewide average. State law, passed by voter referendum in 2000, allows marijuana treatment for a list of maladies, from cancer to chronic pain, if a doctor verifies the need.

And doctors have obliged. The sick-enough-for-marijuana pattern extends in a broad band from Nederland west through an archipelago of communities that were equally tinctured by tie-dye a generation ago and are now cornerstones of the state’s resort and tourism industry.

Summit and Pitkin Counties, home to ski towns like Breckenridge, Keystone and Aspen, pride themselves on a healthy outdoor youth culture, but they also have a disproportionate amount of debilitating pain diagnosed in men in their 20s, state records show.

“Who would think there would be such severe pain among young men in Colorado?” said Ron Hyman, the state registrar of vital statistics and director of the Colorado Department of Public Health and Environment’s medical marijuana program.

Nederland residents like Hal Mobley, 56, who was on his way to get a haircut on a recent morning, asked pretty much the same thing. Marijuana is part of the life here, he said — no more available, no less, and no different in its use, he thinks, than it has been for decades.

“It’s for pain?” he said, squinting into the bright sun.

Well, it is also good medicine for the Nederland town budget. Tax revenues are way up, in ways that would make many a more buttoned-down town treasurer envious — partly from more tourists spending money in the restaurants and shops, but even more so from marijuana sales.
In June alone, while many communities around the nation were still sputtering through economic doldrums, sales taxes collected in Nederland came in a robust 54 percent above those of June 2009. Without the tax collected on marijuana, the increase would have been 22 percent.

“It’s been here, probably in an illegal capacity, for a long time, but now there’s an opportunity for industry,” said Nederland’s mayor, Sumaya Abu-Haidar. “There’s an opportunity for free enterprise, an opportunity for people to make a living in a way that wasn’t available before.”
Philip Dyer, 45, a local musician, put it another way. The government, he said, “has finally gotten smart enough to regulate it and get their piece.”

Supporters of medical marijuana say the pattern — medical use most predominant in places of historically high recreational use — is simply a reflection of better knowledge about the drug and its properties. People in communities where marijuana has been accepted, they say, know more about its medical benefits than those in other parts of the state where medical marijuana patients are rare.

Still, residents here say that despite a kind of marijuana status quo on paper, things are changing.

A demographic shift in recent years, with more families, professionals, tech workers and telecommuters moving here, has created tensions, town officials say, over questions of growth, development, tourism — and marijuana, with many of the newcomers less enthusiastic than the old guard about Nederland’s ganja-tinged reputation.

Earlier this year, Nederland became the third community in Colorado to decriminalize recreational marijuana use. But the vote, mostly symbolic because recreational use is still illegal under state and federal law, deeply divided the community. Legalization passed, but by only 41 of the 477 votes cast. A proposal to hold a cannabis festival in town hit a bigger wall of opposition and was voted down.

“When people think of Nederland as this stoner town, if you will, that is not accurate,” Mayor Abu-Haidar said.

But the town still has a reputation for having good marijuana, a point of pride that the legal compliance lawyer for Grateful Meds, Susan Eisman, was happy to talk about during a tour of the shop. Whereas many dispensaries have perhaps five strains of marijuana to choose from, Grateful Meds has 30, and serves about 300 patients.

“We have patients coming from all over Colorado,” Ms. Eisman said. “And a lot of it is the quality and quantity and the selection and the reputation.

“A patient just the other day came all the way from Longmont, an hour away, because he liked a particular strain and he can’t get it anywhere else.”

A version of this article appeared in print on November 8, 2010, on page A13 of the New York edition.

For Afghan Wives, a Desperate, Fiery Way Out

Lynsey Addario for The New York Times
Farzana, left, at the Herat burn hospital with her mother. She set herself on fire when her father-in-law belittled her.
By ALISSA J. RUBIN
Published: November 7, 2010
HERAT, Afghanistan — Even the poorest families in Afghanistan have matches and cooking fuel. The combination usually sustains life. But it also can be the makings of a horrifying escape: from poverty, from forced marriages, from the abuse and despondency that can be the fate of Afghan women.

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Suicide in Herat
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At War Blog: Why Did You Burn Yourself? (November 8, 2010)
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Lynsey Addario for The New York Times


Juma Gul weeps as he visits his mother, Gul Zada, about an hour before her death
in the burn center of the Herat Regional Hospital in Herat, Afghanistan.

The night before she burned herself, Gul Zada took her children to her sister’s for a family party. All seemed well. Later it emerged that she had not brought a present, and a relative had chided her for it, said her son Juma Gul.

This small thing apparently broke her. Ms. Zada, who was 45, the mother of six children and who earned pitiably little cleaning houses, ended up with burns on nearly 60 percent of her body at the Herat burn hospital. Survival is difficult even at 40 percent.

“She was burned from head to toe,” her son remembers.

The hospital here is the only medical center in Afghanistan that specifically treats victims of burning, a common form of suicide in this region, partly because the tools to do it are so readily available. Through early October, 75 women arrived with burns — most self-inflicted, others only made to look that way. That is up nearly 30 percent from last year.

But the numbers say less than the stories of the patients.

It is shameful here to admit to troubles at home, and mental illness often goes undiagnosed or untreated. Ms. Zada, the hospital staff said, probably suffered from depression. The choices for Afghan women are extraordinarily restricted: Their family is their fate. There is little chance for education, little choice about whom a woman marries, no choice at all about her role in her own house. Her primary job is to serve her husband’s family. Outside that world, she is an outcast.
“If you run away from home, you may be raped or put in jail and then sent home and then what will happen to you?” asked Rachel Reid, a researcher for Human Rights Watch who tracks violence against women.

Returned runaways are often shot or stabbed in honor killings because the families fear they have spent time unchaperoned with a man. Women and girls are still stoned to death. Those who burn themselves but survive are often relegated to grinding Cinderella existences while their husbands marry other, untainted women.

“Violence in the lives of Afghanistan’s women comes from everywhere: from her father or brother, from her husband, from her father-in-law, from her mother-in-law and sister-in-law,” said Dr. Shafiqa Eanin, a plastic surgeon at the burn hospital, which usually has at least 10 female self-immolation cases at any one time.

The most sinister burn cases are actually homicides masquerading as suicides, said doctors, nurses and human rights workers.

“We have two women here right now who were burned by their mothers-in-law and husbands,” said Dr. Arif Jalali, the hospital’s senior surgeon.

Doctors cited two recent cases where women were beaten by their husbands or in-laws, lost consciousness and awoke in the hospital to find themselves burned because they had been shoved in an oven or set on fire.

For a very few of the women who survive burnings, whether self-inflicted or done by relatives, the experience is a kind of Rubicon that helps them change their lives. Some work with lawyers who are recommended by the hospital and request a divorce. Most do not.

Defiant and Depressed

Engaged at 8 and married at 12, Farzana resorted to setting herself on fire when her father-in-law belittled her, saying she was not brave enough to do so. She was 17 and had endured years of beatings and abuse from her husband and his family.

Defiant and depressed, she went into the yard. She handed her husband their 9-month-old daughter so the baby would not see her mother burning. Then she poured cooking fuel on herself.

“I felt so sad and such pain in my heart and I felt very angry at my husband and my father- and mother-in-law, and then I took the matches and lit myself,” she said.

Farzana’s story is about desperation and the extremes that in-laws often inflict on their son’s wives. United Nations statistics indicate that at least 45 percent of Afghan women marry before they are 18; a large percentage before they are 16. Many girls are still given as payment for debts, which sentences them to a life of servitude and, almost always, abuse.

A bright child whose favorite subjects were Dari language and poetry, Farzana dreamed of becoming a teacher. But she had been promised in marriage to the son of the family that was providing a wife for her brother, and when she turned 12, her in-laws insisted it was time to marry. Her future husband had just turned 14.

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Lynsey Addario for The New York Times
Zahra, 21, tried to commit suicide by self-immolation six years ago because she objected to her arranged marriage.

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(November 8, 2010)

“On the marriage day, he beat me when I woke up and shouted at me,” she said. “He was always favoring his mother and using bad words about me.”

The beatings went on for four years. Then Farzana’s brother took a second wife, an insult to Farzana’s in-laws. Her mistreatment worsened. They refused to allow her to see her mother, and her husband beat her more often.

“I thought of running away from that house, but then I thought: what will happen to the name of my family?” she said. “No one in our family has asked for divorce. So how can I be the first?”

Doctors and nurses say that especially in cases involving younger women, fury at their situation, a sense of being trapped and a desire to shame their husbands into caring for them all come together.

This was true of Farzana.

“The thing that forced me to set myself on fire was when my father-in-law said: ‘You are not able to set yourself on fire,’ ” she recalled.

But she did, and when the flames were out, 58 percent of her body was burnt. As a relative bundled her raw body into a car for the hospital, her husband whispered: “If anybody asks you, don’t tell them my name; don’t say I had anything to do with it.’ ”

After 57 days in the hospital and multiple skin grafts, she is home with her mother and torn between family traditions and an inchoate sense that a new way of thinking is needed.

Farzana’s daughter is being brought up by her husband’s family, and mother and daughter are not allowed to see each other. Despite that, she says that she cannot go back to her husband’s house.

“Five years I spent in his house with those people,” she said. “My marriage was for other people. They should never have given me in a child marriage.”

A Common Option

Why do women burn themselves rather than choose another form of suicide?

Poverty is one reason, said Dr. Jalali. Many women mistakenly think death will be instant. Halima, 20, a patient in the hospital in August, said she considered jumping from a roof but worried she would only break her leg. If she set herself on fire, she said, “It would all be over.”

Self-immolation is more common in Herat and western Afghanistan than other parts of the country. The area’s closeness to Iran may partly explain why; Iran shares in the culture of suicide by burning.

Unlike many women admitted to the burn hospital, Ms. Zada showed no outward signs of distress before she set herself on fire. Her life, though, was hard. Her husband is a sharecropper. She cleaned houses and at night stayed up to clean her own home — a nearly impossible task in the family’s squalid earthen and brick two-room house buffeted by the Herati winds that sweep in a layer of dust each time the door opens.

To her family, she was a constant provider. “Before I thought of wanting something, she provided me with it,” said Juma Gul, 32, her eldest son, a laborer who earns about $140 a month. “She would embroider our clothes so that we wouldn’t feel we had less than other people.”

As he spoke, his 10-year-old twin sisters sat near him holding hands and a picture of their mother.

In the hospital, Ms. Zada rallied at first, and Juma Gul was encouraged, unaware of how hard it is to survive such extensive burns. That is especially true in the developing world, said Dr. Robert Sheridan, chief of surgery at the Shriners Burn Hospital in Boston and a trauma surgeon at Massachusetts General Hospital.

The greatest risk is sepsis, a deadly infection that generally starts in the second week after a burn and is hard to stop, Dr. Sheridan said. Even badly burned and infected patients can speak almost up to the hour of their death, often giving families false hopes.

“She was getting better,” her son insisted.

But infection had, in fact, set in, and the family did not have the money for powerful antibiotics that could give her whatever small chance there was to survive. Juma Gul eventually managed to beg and borrow the money, but not before the infection spread.

Two weeks after his mother set herself on fire, he stood by her bed as she stopped breathing.


A version of this article appeared in print on November 8, 2010, on page A1 of the New York edition.