Antonio Guterres, the United Nations High Commissioner for Refugees, speaks to the press during a visit to camp Andalusia for internally displaced people from southern Sudan, some 30 kms south of the capital Khartoum.
Over the past year and a half, the world has seen crisis after crisis. Today, NPR's Michele Kelemen spoke to António Guterres, the United Nations High Commissioner on Refugees, mostly about the crisis in Sudan.
But at one point during their talk, Guterres rattled off the crises they've dealt with since the beginning of 2011: The Ivory Coast, Libya, Syria, Yemen, both a famine and conflict in the Horn of Africa, Mali and now Syria is flaring up again.
Originally published on Thu April 26, 2012 9:28 am
When it comes to electronic music production, there are a bunch of ways tracks can be made. There's the "arranging digital samples" approach, where producers layer pre-recorded sounds or loops to compose a piece. There's the "analog to digital" approach, where a producer will play analog synthesizers or program drum machines and feed them into a digital audio work station like Ableton. And there's what I'll call the "organic to digital" approach, where producers record more conventional instruments and then process the results in a computer.
György Ligeti's surreal opera Le Grand Macabre was the hit of the New York Philharmonic's 2009-2010 season, in a semi-staged production that featured Barbara Hannigan (left) as Gepopo and Anthony Roth Costanzo as Prince Go-Go.
Although a few radical composers had no use for opera in the mid-20th century (like Pierre Boulez, who infamously advocated blowing up the world's opera houses), the art form in Europe brushed itself off and began to thrive again after World War II.
Most people who haven't been living under a rock are aware of the newspaper industry's precipitous decline. And even the least media savvy surface dwellers could guess that this sorry state of affairs has disproportionately impacted arts journalism.