Word: popped
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Dates: during 1990-1999
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...waiting until the situation is resolved for them." In the streets of Havana there is little proto-capitalist bustle. The government says 86,000 people out of Cuba's 11 million have applied for the required license, but it is not easy to find the new mom-and-pop enterprises. Canadian mining executive Bill McGuinty thinks his Cuban co-workers are eager to learn capitalist ways -- up to a point. They are shocked by his attempts to bypass bureaucracy and befuddled by the quid pro quos of networking. "It will take a while for the mentality to change," he says...
Recent group shows, including that landmark dud, the 1993 Whitney Biennial, have been full of this stuff -- by Sue Williams, Raymond Pettibon and others. Its tacky sub-pop imagery, its dazed passive-aggressive stance, its fixation on teenage weltschmerz, all entitle it to be seen as a mini-trend, linking up with the wider American cult of dumb popular therapeutics. In the 1980s, American neo-Expressionist artists shoved their excremental clods of paint at us with the self-evident pleasure that eight-year-olds take in dirty words. Patheticism is the conceptual version of this: no paint, just the words...
...take a moldy 19th century German opera about a Faustian pact with the Devil and turn it over to a composer of hobo rock, a legendary writer from the Beat Generation, and a director who specializes in performance pieces for the art crowd. But don't go away. A pop opera of very odd sorts called The Black Rider is a triumph for its three collaborators, Tom Waits, William S. Burroughs and Robert Wilson...
...having a limited run ending this week at the Brooklyn Academy of Music, are a witches' brew of cabaret, silent-movie slapstick, Expressionist psychodrama, Japanese theater, lounge lizardry and high-tech wizardry. What keeps it bubbling is a melodic succession of wheezy parlor waltzes, barroom blues, moon-June pop and ersatz Kurt Weill. What gives it fizz is gallows humor, antiwar mockery, sweet sentiment and an inventiveness that more than honors the imperative laid down years ago by Sergei Diaghilev to Jean Cocteau: "Astonish...
...with new energy through the interplay of their voices. "I punch my fist right through the glass," they sing together. "I didn't even feel it, it hurt me so bad. Such fun. Such fun." Rose also performs a passionate rendition of Since I Don't Have You, a pop classic by the '50s vocal group the Skyliners...