Rocío Molina conceived (ahem) the work, titled Grito Pelao, with singer Sílvia Pérez Cruz as a celebration of pregnancy and motherhood. “I will stop performing [the piece] in October because I will no longer be able to dance,” says Molina, “as I’ll be almost eight months pregnant. I’ve always liked the idea of the piece dying when I give birth to a new life, so I think that is ultimately what will happen. I can’t talk about being pregnant if I no longer have the baby inside of me.”
“Art, which once reflected values aloof from simple (or complicated) greed, has been insidiously absorbed into the economy of commercial products,” Gary Indiana wrote in 1986, “its cash worth determined by dicey variables unlike the ones fixed for ordinary commodities.” The difference now is that the variables that determine art’s monetary value are no longer seen as dicey. Instead, they’re understood as art itself.
His job titles belie his importance at the company; Mr. Hubay did far more than oversee ticket sales. He became something of an expert on opera and opera singers, so much so that he would be asked to judge singing and scholarship competitions. He also served on the boards of numerous musical organizations, including the Glimmerglass Opera, the Oratorio Society of New York and the Marilyn Horne Foundation.
“At the start of the Cold War, a prominent group of women, who had worked their way up in broadcast media in the 1930s and ’40s, were poised to use the new medium of television to create the kind of inclusive, intersectional content that is only today finding traction. Then, the blacklist, a vicious, hearsay-riddled manifest of Hollywood talent with ties to Communism, silenced their creative output. It effectively turned back on the dial of progressive representations on TV by decades.”