teaches

Tuesday, Oct. 14, would have been the 32nd birthday of Charlie Kirk, the right-wing political influencer murdered last summer. It is a birthday shared by George Floyd, Jr., asphyxiated by arresting police in 2020 and who would have been 52. The horror of these tragedies has roiled a divisive society, but must they now demand a political battleground of opposing memorials?/

The concept of a civic memorial has long and often been, in Western culture, the privilege of classical music. Music may be permitted to speak not of specifics but the essence of grief, a collective cherishing of existence.

There happens to be another anniversary, Tuesday, to acknowledge. Leonard Bernstein, a great gatherer of differences in his music, died Oct. 14, 1990, at 72. And all around us, as we approach the 35th anniversary of his death, are reminders of Bernstein as the megastar memorializer of the 35th president of the United States, and what those tributes to John F. Kennedy might mean for us today.

The must-see Los Angeles Opera production of “West Side Story,” which closes Sunday, is by Francesca Zambello, who heads Washington National Opera at the John F. Kennedy Center for the Performing Arts, and where she is slated to mount her production of Bernstein’s classic musical in May. Saturday night at the Soraya in Northridge, Martha Graham Dance Company gave the world premiere of “En Masse,” which is based on Bernstein’s “MASS,” written to open the Kennedy Center, where “En Masse,” too, is headed in the spring.

Along with all that, Gustavo Dudamel caps his three fall weeks leading the Los Angeles Philharmonic this weekend with four performances of Mahler’s Symphony No. 2 at Walt Disney Concert Hall. Bernstein chose this epic score, known as the “Resurrection,” to memorialize Kennedy two days after his assassination in 1963. A large New York Philharmonic, vocal soloists and chorus assembled on a CBS sound stage for a live national television broadcast.

It was a Sunday and untold millions (there were no Nielsen ratings) gathered in their homes to watch a somber Bernstein begin Mahler’s symphony with gut-wrenching intensity and end it with an overwhelming sense of triumph 90 minutes later. As a legendary act of national healing, the broadcast riveted a shocked nation.

It still does. The following year, Bernstein channeled that Kennedy spirit into a famous performance of Mahler’s symphony at London’s Ely Cathedral that was televised in Britain and released on commercial video. It is that Mahler Second performance that Bradley Cooper chose as the musical centerpiece of his Bernstein 2023 biopic, “Maestro.”

Bernstein further memorialized JFK in the dedication of his Third Symphony, “Kaddish.” And then there was the Kennedy Center opening in 1971, with Bernstein doing the shocking. At the time and for the occasion, “MASS” seemed a bizarre mashup of pop, schlock, jazz, 12-tone, electronics, grand symphonic utterances, hippie currency, mysticism, traditional Catholic Mass, Jewish Sabbath service, anti-Mass climaxing with a psychotic and psychedelic breakdown of Mass’ celebrant and Vietnam War protest.

The general reaction to “MASS” was that of appall, no matter whether you worshipped Bernstein or couldn’t bear him, whatever your political or cultural orientation. President Nixon — who as vice president in the 1950s had attended a Bernstein festival of American music at the Hollywood Bowl and had accompanied Bernstein and the New York Philharmonic on a cultural tour to South America — stayed home.

In fact, “MASS,” after years of puzzled neglect, ultimately came to be heralded as a Bernstein masterpiece, a work that freed contemporary music of genre-fication. It gives permission not for anything goes but for anything goes together if you can find the right context. A slow awareness of the score’s genius has empowered a new generation, such as the conductor and composer Christopher Rountree, who made the new arrangement of parts of “MASS” for his genre-breaking orchestra, Wild Up.

The Graham company based “En Messe” on a flimsy premise, the discovery of a page or two of sketches that Bernstein made for a proposed score he meant to write for Graham in 1988. The discovery is minor. Bernstein and Graham knew and admired each other, but she was a footnote in his career.

In the end, Rountree wrote a short series on variations on two themes he extracted from the sketches that serve as an epilogue to the “MASS” suite. The themes are hard to discern and don’t matter. Rather, Rountree makes a gripping case in his variations for a way forward from Bernsteiniana to today.

The intent of “En Messe” was meant to cap a celebration of the 100th anniversary of the Graham company, the oldest dance company in America. Graham 100 began a year ago with a revival of “Appalachian Spring,” Graham’s most famous piece, which also gave us Aaron Copland’s iconic score (the popularity of which was greatly helped by Bernstein’s recording).

The company has also revived another of Graham’s most important (and severe) dances, “Night Journey,” based around the last moments of the life of Jocasta (the mother of Oedipus in the Greek tragedy). The revival with Anne Souder as an imposing Jocasta, Lloyd Knight, an enthralling Oedipus, and Ethan Palma, a haunted Tiresias (the seer), retained all the work’s stunning power. William Schuman’s mostly forgotten score received a revelatory performance by Rountree and Wild Up.

“En Messe,” itself, did not serve its purpose to cap a centennial closer to the work of a seminal choreographer. It accomplished something more important by heralding a path forward. The company can’t live forever reviving Graham’s work or doing showy new dances such as “We the People” (also on the program).

Instead, Hope Boykin’s choreography added a dark intensity to Bernstein’s brightness. The stage was dim. Each dance featured a soloist in seeming personal meditation with the music, its rhythms and its spirit, and with the company’s other dancers, who appear ghostly figures in the misty distance.

Movement didn’t match music but brought you into it, while the music seemed to demand movement. It began with the score’s hit, “A Simple Song,” Bernstein at his most tuneful, even saccharine. Jodie Landau didn’t buy into its surface simplicity but sang with a fresh, cool, contemporary edge that immediately told you we were headed into unknown territory. Every discovery that followed proved her right on.

“En Messe” will tour the country and beyond over the next year with, unfortunately, a recording of Wild Up, not live performance. If the company gets over its overamplification, which cheapens everything it presents, that need not disastrously lessen the impact.

Will “En Messe,” or “West Side Story,” actually reach the Kennedy Center, which the federal government is attempting to turn it into who-knows-what, this spring? Both Bernstein works are exactly what the new overseers say they want — more populist art, inspirational attempts to make American art great. But they are also works that make us look inside ourselves, discover what matters beyond self-interest. That’s become a hard sell.

This week, we are chatting with Ada Tseng and Jon Healey about their new book, “Breaking Into New Hollywood.” We also take a look at what our critics read, and visit a bookstore that has become a social beehive in Culver City.

The entertainment industry is experiencing a massive transformation, as traditional jobs are vanishing and artificial intelligence increasingly upends the way media is created. Thankfully, former L.A. Times editors Ada Tseng and Jon Healey are here to help. The duo, with extensive experience covering show business, have written a new book for anyone who’s ever dreamed of working in Hollywood. Tseng and Healey interviewed hundreds of insiders who work in front of and behind the camera to provide a thorough look at how to break in, and what it’s like when you do find that dream job.

I sat down with authors to discuss “Breaking Into New Hollywood.”

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Tseng and Healey are here to help you pursue your Hollywood dreams with their book, “Breaking Into New Hollywood.”

(Ricardo DeAratanha; Jay L. Clendenin / Los Angeles Times)

This is the most comprehensive how-to guide for Hollywood careers I’ve ever read. Where did the impetus for the book come from?

Ada: The book started as a Hollywood careers series at the Los Angeles Times, when Jon and I were editors on a team that specialized in writing guides and explainers. As we were thinking about how to be useful to L.A. Times readers, I pitched a project to help people who were interested in getting a job in Hollywood. A lot of people come to L.A. starry-eyed with big dreams, but the film and TV industry can be pretty brutal.

As journalists, we’re Hollywood outsiders, but we had access to hundreds of professionals who were generous enough to share what they wished they knew when they were starting out. We see it like this: On behalf of the people who don’t have connections in the industry, we cold-emailed people, asked for informational interviews, picked their brains, listened to stories of what they did to build a career — and did our best to consolidate their most practical pieces of advice into an actionable guide.

Jon: A lot of folks I interviewed had similar origin stories in this respect: They knew that they wanted to work in the industry in some capacity, but they didn’t know what exactly they could do. So it made sense to do a book for that sort of person — a guide that would show an array of possible career paths to people who didn’t know what role they wanted to fill.

I feel like “How to Break into the Business” books in the past have tended to focus on positive outcomes rather than the struggle. Did you want to temper expectations, or at least make sure people think things through very thoroughly before jumping in?

Ada: We just wanted to be honest. The glamorous fantasy of Hollywood is so intoxicating. But if you’re going to work in the industry, you need to navigate the day-to-day reality of it. I don’t think we were trying to encourage or discourage anyone. I’d hope that some people would read the chapters and think, “This seems doable, and now I can make a plan,” while others would read it and think, “If I’m honest with myself, I’m someone who needs more stability in my life.” Because it’s not just a career choice. It’s a lifestyle choice.

Jon: Right, this was about expectation-setting and reality-checking. The very first interviews I did in this project were of Foley artists. An expert I interviewed said there were 40 to 50 established Foley practitioners in the U.S., and 100 to 200 folks trying to get into the field. That’s a very tough nut to crack. Then there are the Hollywood unions, which present a catch-22 to anyone trying to join their ranks — they have to do a certain number of hours in jobs covered by union contracts, but union members get first crack at all those gigs.

Your book also covers jobs above and below the line. I think many people don’t even realize how many different career opportunities exist.

Ada: There are two things we heard over and over again. People would say, “It’s incredibly important to understand what all the different departments do.” And they’d also say, “So many people — even our own colleagues in the industry — don’t understand what we do.” So we wanted to encourage newcomers to learn about all different types of jobs in Hollywood and how they work together.

Jon: Talking about the emotional components is about setting expectations too. The vast majority of people who work in Hollywood, from A-list actors to entry-level grips, are freelancers. That’s a tough life of highs and lows, and you have to prepare for that mentally as well as financially. People have to hustle for years to establish themselves, and that takes an enormous capacity for rejection. On top of that is the physical toll the work can extract, especially on the folks involved in setting up and tearing down sets. Part of the point of the book is to tell people with Hollywood dreams that they’ll need to gird themselves emotionally and physically for the work.

📰 The Week(s) in Books

Karin Slaughter’s new book series, which launches with “We Are All Guilty Here,” is not for the squeamish.

(Myung J. Chun / Los Angeles Times)

Mark Athatakis finds much to like in “Ready for My Close-Up,” David M. Lubin’s book about the classic 1950 film “Sunset Boulevard.” “Though the book has its shortcomings,” he writes, “[Lubin] rightly sees the movie as a kind of passkey into the history of the first half-century of Hollywood itself.”

Robet Allen Papinchak weighs in on Phoebe Greenwood’s Middle East satire “Vulture,” finding it “a darkly comic, searing satire grounded in historic politics.”

Emma Sloley’s novel “The Island of Last Things” envisions a future where animal life, and then entire ecosystems, are wiped out, but Ilana Masad writes that Sloley also highlights “the small moments of beauty, joy and care that emerge even during … horrible times.”

And Paula L. Woods has a chat with master thriller novelist Karin Slaughter about her new book, “We Are All Guilty Here,” and TV series.

📖 Bookstore Faves

“Books are an antidote to the constant distractions in our lives,” says the owner of Culver City’s Village Well bookstore.

(Jennifer Caspar)

Four years after it opened its doors to the public, Village Well Books & Coffee has become a community locus in its Culver City neighborhood. Owner Jennifer Caspar has created a vibrant space with a full-service cafe, allowing her customers to linger for as long as they please while perusing Caspar’s ample and well-curated selection of new books. I chatted with Caspar about her store and what’s selling right now.

Why did you open the store?

I wanted a place where people can facilitate connections with others, because I think that’s what people need. Everyone is so overwhelmed by their phones and technology, and we tend to take the easy path, which is to not get out and see people.

What’s selling right now?

“Atmosphere,” Taylor Jenkins Reid; “Martyr,” Kaveh Akbar; “The Emperor of Gladness,” Ocean Vuong; “All Fours,” Miranda July. There’s been a real increase in books about activism and the Middle East situation. We’re launching an activism book club here, starting with “Mutual Aid: Building Solidarity During This Crisis (and the Next)” by Dean Spade. It will be interesting to see who comes out for that.

Why books now? Why not the Substack, social media, etc.?

Books are an antidote to the constant distractions in our lives. People need to connect offline, and books give us a chance to settle down and focus. Studies show that what we learn from books stays with us longer. You can read a Kindle, and I do, but there is something about sitting down with words on paper. For me, it’s great physical therapy for my emotional state.

Village Well is located at 9900 Culver Blvd., Culver City.