This is the 90th time we have named the person who had the greatest influence, for better or worse, on the events of the year.
So which is it this year: Better or worse?
The challenge for Donald Trump is how profoundly the country disagrees about the answer.
It’s hard to measure the scale of his disruption. This real estate baron and casino owner turned reality-TV star and provocateur – never a day spent in public office, never a debt owed to any interest besides his own – now surveys the smoking ruin of a vast political edifice that once housed parties, pundits, donors, pollsters, all those who did not see him coming or take him seriously.
Out of this reckoning, Trump is poised to preside, for better or worse.
For reminding America that demagoguery feeds on despair and that truth is only as powerful as the trust in those who speak it, for empowering a hidden electorate by mainstreaming its furies and live-streaming its fears, and for framing tomorrow’s political culture by demolishing yesterday’s, Donald Trump is TIME’s 2016 Person of the Year.
The 2016 Person of the Year is Donald Trump, the President-elect of the divided states of America.
Person of the Year is one of the best-known and most-followed franchises in journalism. TIME selects the person who for good or ill has done the most to influence the events of the year.
~Why Time’s Trump Cover Is a Subversive Work of Political Art~
By: Jake Romm
December 8, 2016Time Magazine’s annual “Person of the Year” announcement is, year after year, grossly misunderstood.
Time Magazine is clear on its sole criterion – “the person who had the greatest influence, for better or worse, on the events of the year” – yet, do a simple search on Twitter and you will find countless people who seem to think that the “Person of the Year” selection is tantamount to an endorsement.
Previous winners have included Joseph Stalin (1939, 1942), Ayatollah Khomeini (1979), Adolf Hitler (1938), and other figures who I think it is safe to assume the Time staff does not endorse.
Photo was shot by Jewish photographer Nadav Kander.
For clues as to how Time feels about that question — is it “for better or worse?” — we can look to the image chosen for the cover of the issue. The decisions that Time made regarding how to photograph Trump reveal a layered, nuanced field of references that place the image among, in this viewer’s opinion, the magazine’s greatest covers.
In order to deconstruct the image, let’s focus on three key elements (leaving aside the placement of the ‘M’ in ‘Time’ that makes it look like Trump has red horns): the color, the pose, and the chair.
Notice how the colors appear slightly washed out, slightly muted, soft. The palette creates what we might call a vintage effect. The image’s sharpness and detail reveal the contemporaneity of the picture, but the color suggests an older type of film, namely, Kodachrome. Kodachrome, the recently discontinued film produced by Kodak, was designed to create accurate color reproduction in the early 1900’s.
This visual-temporal shift in a sense mirrors a lot of the drives that fueled Trump’s rise.
Trump ran a campaign based on regressive policies and attitudes – anti-environmental protection, anti-abortion, pro-coal, etc. This election was not just about regressive policy choices, but also about traditional values (defined primarily by the Christian right), about nostalgia for American greatness and security, about nostalgia for a pre-globalized world.
Trump’s pose can be read as a subversive play on a traditional power-portrait pose.
Trump’s turn towards the camera renders the tone conspiratorial rather than judgmental. There are two images at play here – the imagined power-image taken from the front, and the actual image, in which Trump seems to offer the viewer a conniving wink, as if to say, look at how we hoodwinked those suckers in the front (both Trump and the viewer are looking down on those in front).
By subverting the typical power dynamic, Time, in a sense, implicates the viewer in Trump’s election, in his being on the cover in the first place.
By choosing not to shoot Trump head on, the Time cover almost offers us a “behind the scenes” glimpse of the man who has spent so much of his time in front of the camera – heightening the conspiratorial tone and complicity of the viewer. The highly posed and processed nature of the photograph offers yet another level of irony.
Finally, we must note the ominous shadow lurking on the backdrop.
It’s a small, but important and clever detail.
Just as this image provides us with two theoretical points of view, it also provides us with two Trumps – Trump the president-elect, and the specter of Trump the president, haunting in the wings, waiting to take form.
The masterstroke, the single detail that completes the entire image, is the chair.
Trump is seated in what looks to be a vintage “Louis XV” chair (so named because it was designed in France under the reign of King Louis XV in the mid 18th century).
It’s a gaudy symbol of wealth and status, but if you look at the top right corner, you can see a rip in the upholstery, signifying Trump’s own cracked image. Behind the bluster, behind the glowing displays of wealth, behind the glittering promises, we have the debt, the tastelessness, the demagoguery, the racism, the lack of government experience or knowledge (all of which we unfortunately know too well already).
Once we notice the rip, the splotches on the wood come into focus, the cracks in Trump’s makeup, the thinness of his hair, the stain on the bottom left corner of the seat – the entire illusion of grandeur begins to collapse.
The cover is less an image of a man in power than the freeze frame of a leader, and his country, in a state of decay. The ghostly shadow works overtime here – suggesting a splendor that has already passed, if it ever existed at all.
Taken together, these elements add up to a profound portrayal of anxiety for the coming years. We have the implicit placement of Trump in the mid 1900’s. We have a suggestion of the scheming, sordid underside of power.
We have the crumbling facade of wealth, which, like “The Picture of Dorian Gray” suggests more than just a physical deterioration.
As a photograph, it’s a rare achievement.
As a cover, it’s a statement.
These are only excerpts.
There’s more to it.
Again, I encourage you to read TIME’s complete article.
Acrobat makes a living going round in circles with street performances that will send you into a spin
Performer Isaac Hou has become famous in Taiwan for his wheel routine Video of his act has been described as both ‘awesome’ and sickening A GoPro camera was used to give multiple perspectives of the act
This incredible street performer has been dubbed the real life Lord Of The Rings thanks to his amazing skills with a steel hoop. Acrobat Isaac Hou has been filmed rolling around the streets of Taiwan in a gravity-defying routine inside a Cyr wheel.
The footage, which was shot using a GoPro camera, shows the viewpoint of an onlooker, as well as Mr Hou’s point of view from within the wheel.
The Piano Guys Give Us Chills With This Classical Rendition Of ‘Let It Go’ From ‘Frozen’
It finally arrived! I have been listening to The Piano Guys new CD. I must say it’s awesome. Today I got confirmation … Angelika and Connor gave it a ++ ranking!
The three of us were listening to it today.
One of their favorite songs is “Let It Go” from the movie “Frozen“.
I must tell you that it felt wonderful singing the lyrics to this song, while the “Guys” played it, at the top of our lungs.
Quite the bonding experience!!
I need to say that these kids are talented … even though I’m partial to them.
Let It Go from Frozen – Adapted for Cello/Piano Duet The Piano Guys
With Vivaldi’s “Winter” from Four Seasons Series: Cello Piano Artist: The Piano Guys Matching sheet music to the sensational mash-up by The Piano Guys of “Let It Go” from Frozen with Vivaldi’s classic “Winter.”
What do you get when you mix up a marketing genius that does video, a studio engineer that writes music, a pianist that had a successful solo career, and a cellist that does pretty much everything? The Piano Guys: a miraculous meeting of “guys” with the same intrinsic purpose – to make a positive impact in the lives of people all over the world through music videos.
It all started in a piano store in a little town in Southern Utah called St. George. Paul Anderson, the store owner, was looking for a new, unconventional way to market pianos. The name of the store? The Piano Guys.
~~Let It Go (Disney’s “Frozen”) Vivaldi’s Winter~~
~~Published on Feb 19, 2014~~
This is NOT green screen. Everything you see is real snow and ice.
~Story behind the song~
So who doesn’t love a story about an estranged ice princess, a dynamic mountain man/reindeer duo and a snowman obsessed with warm weather? We all loved the movie “Frozen” and its single, “Let It Go.” So much emotion, energy and drama packed into one tune. But we thought we’d add a little more drama … by melting together “Let It Go” and themes from Vivaldi’s classical piece, “Winter.” Vivaldi’s almost reckless string motives helped us surround the determined, upbeat melody and chords from “Let It Go” with intensity and uncertainty. We wanted the music to alternate between “freezing” and “thawing,” representing the opposing forces throughout the “Frozen” story.
“Let It Go” written by Kristen Anderson & Robert Lopez and produced by Wonderland Music Company Inc. (BMI)
Also based on themes from Antonio Vivaldi’s Concerto No. 4 in F minor, Op. 8, RV 297, (“The Four Seasons“) – “L’inverno” (Winter)
Arrangement produced by Al van der Beek & Steven Sharp Nelson
Arrangement written by Al van der Beek, Jon Schmidt & Steven Sharp Nelson