The UC Wellbeing Channel is the place to discover what top medical and scientific experts believe will lead to a mindful, balanced and healthy life. Whether it’s understanding the risks of eating genetically modified foods, as explained by Dave Schubert of the Salk Institute on Biological Studies (and backed up by peer-reviewed journal articles) or, upon getting a cancer diagnosis, embracing a comprehensive treatment plan like those offered by Daniel Vicario, MD, of the San Diego Cancer Research Institute, the UC Wellbeing Channel introduces you to respected academics who integrate traditional healing techniques with the best practices of Western medicine.
Marion Nestle, NYU Professor and prize-winning author, finds a paradox in today’s global food system in that food insecurity or obesity threaten the health and welfare of half the world’s population yet there is an overabundant and overly competitive food system that is motivated by corporate growth targets. The profits are in “junk food,” so the economic forces operate against healthy eating.
This contradiction between the goals of public health and food corporations has led to a large and growing food movement in the United States which encourages us to vote with our forks and support the food system we want when we shop.
Find out more about the economic and institutional factors that influence food policies and choices, and think about how we should balance individual and societal responsibility for those choices. Then, get some tips on how you can make a difference when you shop for food.
Nestle is the author of numerous books, including “Food Politics,” which explored the way corporations influence our nutritional choices, and “What to Eat,” a survey of how to navigate the modern American supermarket.
This year, California’s winter weather has been wet and wild. Join Scripps scientist Marty Ralph, Director of the Center for Western Weather and Water Extremes (CW3E) as he describes the phenomena of atmospheric rivers, their impact on our weather, and the essential role modeling and prediction play in managing California’s precious water resources.
To see more programs in the Jeffrey B. Graham Perspectives on Ocean Science Lecture Series, click here.
It’s all in the details. It’s the stories, the artifacts, and the documents that reveal the horror faced by victims of the Holocaust. As author and historian Suzanne Brown-Fleming explains here, researchers into this painful part of human history now have access to the world’s largest Holocaust archive through the International Tracing Service, based in Bad Arolsen, Germany. Families can fill in the missing pieces of the ordeals that their lost relatives faced in World War II. With the ITS database now available at sites in Europe, Israel and at the US Holocaust Memorial Museum in Washington, Brown-Fleming and her colleagues are making sure that the world will, indeed, “never forget.”
To watch more programs in this series, click here.
George Bernard Shaw once remarked that “the English take a creepy sort of pleasure in requiems.” I can’t speak to the truth of this statement, but there’s no denying that requiems are among the most popular works in the orchestral/choral repertoire, in England and elsewhere. Composers as diverse as Haydn, Brahms, Berlioz, Dvořák, Saint-Saëns, Fauré, and Britten have assayed the form, each bringing their own unique sensibilities to the challenge of interpreting a liturgical service in musical terms.
Arguably, the two best-known examples of the requiem are those written by Wolfgang Amadeus Mozart (considered by many to be the template for the genre) and Giuseppe Verdi. Verdi’s Messa da Requiem, which premiered in Milan in 1874, is based on the Roman Catholic funeral mass and scored for four soloists, double (sometimes triple) choir, and orchestra. Verdi composed the piece in memory of poet and novelist Alessandro Manzoni, whom he greatly admired. It consists of seven major sections, within which are several sub-sections of varying and often contrasting moods. In order to heighten the inherent drama and poignancy of the liturgical mass Verdi brought to bear the skills and devices he’d mastered as a composer of operas: expressive orchestration, assertive rhythms, beautiful melodies, vocal pyrotechnics, and dramatic contrasts over an exceptionally wide dynamic range. Indeed, following the Requiem’s premiere many traditionalist critics complained that the music was far too “operatic” in style and not appropriate for the solemn subject matter. Fortunately for us, that view has not prevailed.
Undertaking performance of such a mammoth work, involving 300+ performers on stage, requires both abundant skill and a degree of intrepidity, traits which La Jolla Symphony & Chorus have amply demonstrated in their programming choices. Under the baton of conductor Steven Schick the musicians and vocal soloists render the complexities and subtleties of the piece with both confidence and sensitivity, and if it’s not sacrilegious to say so, the result is thrilling.
Contributed by arts and humanities producer John Menier
Watch Verdi’s Requiem.