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Butler has been on the cutting edge of the new jazz age. But with Marsalis' success, other major labels have joined what amounts to a feeding frenzy on young talent. Although they had virtually abandoned straight-ahead jazz by the early '80s, most major record companies have now established active jazz divisions. Many of them have also begun digging into their vaults and reissuing hundreds of classic jazz recordings...

Author: /time Magazine | Title: Wynton Marsalis: Horns of Plenty | 10/22/1990 | See Source »

Home schooling may have fought for the right to exist in the '80s, but as the sheer numbers grow, the battle now is over how much regulation is required. Often precious little: 32 states, from New York to California, demand only a high school diploma from parents who teach at home. Others, like South Carolina, require a college degree or passing grades on an entrance- / teaching exam. "You can be a fine home-school teacher with a high school diploma, compassion and motivation," argues Robert Ruthazer, a Navy commander whose wife Diane teaches their two children at home in Topsham...

Author: /time Magazine | Title: Education: Schooling Kids at Home | 10/22/1990 | See Source »

...museum along with "high," MOMA, under the new curatorial leadership of Kirk Varnedoe, has abandoned its sacred mission of cultural discrimination. The second, and more hip, version: MOMA is too hidebound and elitist an institution to deal with popular culture, or with the recent "high" culture of the '80s, at all. As the clippings pile up, one may expect to see many variations on these themes. One, common to both, is that the show has too many familiar works -- as though there were a slew of undiscovered Cubist, Surrealist or Pop masterpieces lurking out there, miraculously ignored by the world...

Author: /time Magazine | Title: Art: Upstairs And Downstairs at MOMA | 10/22/1990 | See Source »

Varnedoe and the show's co-curator, Adam Gopnik (art critic of the New Yorker), have taken on a sprawling, slippery, tangled theme -- a survey of the transactions between fine art and popular culture over three-quarters of a century, from Cubism to the '80s. They set out to show how some "high" artists raided "low" (popular and mass) culture for their own purposes. Not all of them, needless to say, did. You won't find the visual argot of advertising, news photography, graffiti or comic strips in the work of the great Apollonians of the past hundred years, from...

Author: /time Magazine | Title: Art: Upstairs And Downstairs at MOMA | 10/22/1990 | See Source »

...80s, college applications to Ivy League schools were more plentiful (and acceptances more competitive) than ever before. It was part of the ethos of the gilded decade, of the dream of making lots of money and keeping it, money that would never reach "John." Harvard, more than ever before, was viewed as a pipeline to the world of corporate banking and high finance. This view obviously held little charm for Restieri and Bentley, the two Leverett House roommates who now sing about the homeless. If they make money, it will be for their music and their message. And if they...

Author: By Mary E. Dibbern, | Title: Breaking with Tradition | 10/19/1990 | See Source »

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