Entertainment
Does adding scents to a symphony make sense? Scriabin and synethesia in San Francisco
It was a cold and wet afternoon as I strolled down forlorn Telegraph Avenue in Berkeley. A countercultural thoroughfare in the late 1960s, the street retained next to nothing of its once colorful flower power. But all of sudden, I smelled incense and heard a recording of Messiaen’s psychedelic “Turangalila-Symphonie.” Annapurna, the head shop that opened in 1969 at the same time as the historic demonstrations at the now boarded-up People’s Park, has survived.
The combination of this specific smell and music, so familiar from my student days here, acted like some kind of nostalgia drug. For an astonishing moment, I was transported back in time. But even more mysterious, it was music, scent and color that recently brought me to the Bay Area in the first place.
The San Francisco Symphony happened to be experimenting with scents in the concert hall for Scriabin’s “Prometheus, The Poem of Fire,” a 20-minute symphony that includes solo piano. The mystical Russian composer experienced synesthesia, the neurological condition in which the brain involuntarily associates one sense with another. Scriabin’s brain — as had, coincidentally, Messiaen’s — ascribed specific colors to specific harmonies.
In “Prometheus,” Scriabin went so far as to include a part for “color organ,” a newly invented instrument that projected colored lights, in his 1910 score. But instead of one color blending into another for dramatic effect, the result was murky gray. Technology has evolved, and Jean-Yves Thibaudet, San Francisco Symphony’s soloist, had long dreamed of adding more senses to the Scriabin mix. Why not scent? The orchestra’s music director, Esa-Pekka Salonen, was intrigued.
I was dubious. Smells linger. As a kid enamored of movie gimmicks, I cajoled my parents to take me to the 1960 Smell-O-Vision “Scent of Mystery,” which had dozens of everyday odors blown from under your seat. By the end, there was an all-purpose stink in the theater. It was disgusting.
Mathilde Laurent, a perfumer at Cartier in Paris, created three original scents for “Prometheus.” Capsules of dry concentrate were projected from diffusers under every third seat. Large wooden devices around the hall chilled and dried the air, so the scents didn’t linger. That sort of worked.
A corona of neon tubes overhead and along the walls of Davies Symphony Hall looked cheesy but approximated Scriabin’s color concept. That sort of worked as well.
“Prometheus” is an extraordinary score, Scriabin’s extravagance going far beyond synesthesia. Written for large orchestra and inspired by Madame Helena Blavatsky’s Theosophical Society, the symphonic tone poem is a fantastical transformation of the Greek myth of Prometheus, who steals fire from the gods. Scriabin’s rich mix of erotic and spiritual ecstasy follows the mystical process of humankind (the piano), in the form of an all-encompassing ego (brass assert in endless refrain an “I am” theme) arising out of imperceptibly quiet, inchoate chaos and merging into earsplitting, delirious joy, in which an otherworldly chorus joins.
The lighting effects are intended to be full of symbolic intent. There are themes of creative principle and will and the like. Blue, for instance, is overcome by the yellow of the sun, and that is supposed to mean something. But nobody’s going to get that.
The scents supposedly have been added for a different purpose. The highly publicized event caught the attention of the weekly British magazine New Scientist, which points out in its latest issue that olfaction bypasses reason. Smell stimulates the parts of the brain tied to memories and emotions, just as Annapurna’s incense had done for me. Presumably, then, the art of olfaction can ready our minds for new experiences.
At a preconcert talk for the Sunday matinee, which I attended, Laurent described her first scent as evoking a sense of anxiety at the start, where the music represents the world before civilization. It was a bit fungal. She selected a perfume she had already invented for Cartier, sweet and sexy, to accompany fire and passion. The last one was grassy for joy.
Maybe it was just me, but the scents landed on the wrong part of my brain, knocking on reason’s door. Scriabin leaves you with enough questions as it is, and here were more. Salonen’s and Thibaudet’s sensational performance of “Prometheus” — transparent, nuanced and colorful — had no need for further tickling the senses.
Michelle DeYoung and Gerald Finley sing as Esa-Pekka Salonen conducts Bartók’s “Duke Bluebeard’s Castle.”
(Brandon Patoc / San Francisco Symphony)
A further revelation came after intermission with an even more impressive concert performance of Bartók’s “Duke Bluebeard’s Castle” that demonstrated the radical difference between theater and synesthesia. The neon lights this time underscored the atmosphere — red for blood dripping in the castle’s creepy rooms, green for grass. Neither annoying nor augmenting, they were merely obvious.
But in one of the most magnificent orchestral climaxes in symphonic literature, when Bluebeard opens a door revealing a vast landscape, Salonen turned to face the audience as he conducted, and the hall burst into brilliant daylight. Dazzling illumination and overwhelming orchestral effect, not color, made this heart-stopping.
Otherwise, this “Bluebeard” needed no theater, thanks to Salonen’s unerring sense of drama, along with ideal soloists — an entrancing Breezy Leigh (the narrator), soul-searching Gerald Finley (Bluebeard) and radiant Michelle DeYoung (Judith).
I was in Berkeley on Saturday for one of Kronos Quartet’s “Five Decades” programs, celebrating the groundbreaking group’s 50th anniversary. The program at Zellerbach Hall included Sofia Gubaidulina’s Quartet No. 4, one of the well over 1,000 Kronos commissions.
It just so happens that Gubaidulina is another Russian synesthete with a strongly spiritual bent, and she included color lighting effects in her score. Among its multitude of innovations, Kronos had pioneered performing its chamber music concerts with lighting design shortly before the 1992 Gubaidulina premiere in Carnegie Hall.
That had been advertised as a big deal in New York. The work uses recorded string quartet sounds on tape along with the live performance. Gubaidulina wanted one kind of lighting for what she called “unreal” sounds of bouncing balls on the strings on tape and another for “real” live sounds. I remember the music from that premiere but don’t recall the lighting being much of anything.
At Zellerbach, Gubaidulina’s quartet was given as part of a wildly mixed program highlighted by the world premiere of Javanese composer Peni Candra Rini’s “Segara Gunung,” which featured her as arresting vocalist. For arresting visual effect, she included shadow puppet theater.
I ran into the Kronos first violinist, David Harrington, at “Prometheus” on Sunday and asked him about the decision to leave out Gubaidulina’s desired lighting. He said Kronos never used Gubaidulina’s lighting even for the Carnegie premiere. He felt it was too garish for this exquisite score.
Live performance is theater. Lighting, movement, design, staging, acoustic projection all have their place, and maybe scent can as well. But you need a director who can translate a synesthesia vision onto the stage.
Salonen, in fact, had just that in a “psychedelic night” at the Hollywood Bowl a quarter century ago, when he was Los Angeles Philharmonic music director. For that, Peter Sellars related “Prometheus” to Native American ritual. The scents were from whatever the party next to you brought for a picnic dinner, or a furtive puff of marijuana.
Entertainment
Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor
A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.
The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.
Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..
“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.
Representatives for Soho House and Vichique Maya were not immediately available for comment.
Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.
After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”
According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”
She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.
“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.
The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”
She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”
When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”
Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.
In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.
However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”
In February, the plaintiff said that she was forced to quit her job.
One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.
It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.
In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .
Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.
Movie Reviews
MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times
“Mercy”
(Thriller/Crime: 1 hour, 39 minutes)
Starring: Chris Pratt, Rebecca Ferguson, Kali Reis
Director: Timur Bekmambetov
Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)
Movie Review:
“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.
Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.
Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.
All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)
“Return to Silent Hill”
(Horror: 1 hour, 46 minutes)
Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange
Director: Christophe Gans
Rated: R (Bloody violent content, strong language and brief drug use.)
Movie Review:
“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.
Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).
Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.
Grade: D (Do not return to see this.)
“Sentimental Value”
(Drama: 2 hours, 13 minutes)
Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning
Director: Joachim Trier
Rated: R (Language, sexual reference, nudity and thematic elements)
Movie Review:
“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).
This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.
Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.
“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.
Grade: A- (Any motive valuable movie.)
“In Cold Light ”
(Crime: 1 hour , 36 minutes)
Starring: Maika Monroe, Allan Hawco and Troy Kotsur
Director: Maxime Giroux
Rated: R (Violence, bloody images, strong language and drug material)
Movie Review:
“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.
Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).
For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.
French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.
Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).
Grade: C- (Just cold and dark.)
More movie reviews online at www.valdostadailytimes.com.
Entertainment
Paramount-Warner Bros. deal stirs fears about what it means for CNN
As the media industry took stock of Paramount Skydance’s startling acquisition of Warner Bros. Discovery, one question lingered on the minds of many in the news business and beyond: What will this mean for CNN?
The iconic 24-hour cable news network is among the various Warner Bros. assets that would be scooped up by Paramount in a deal announced Thursday that could transform the media landscape.
Paramount has undergone a swift transformation under Chief Executive David Ellison following his family’s acquisition of the company last summer. These changes reached CBS News almost immediately with the appointment of Bari Weiss, the controversial Free Press co-founder, as its new editor in chief.
Bari Weiss moderated a town hall with Erika Kirk, widow of slain conservative activist Charlie Kirk.
(CBS via Getty Images)
Weiss’ tenure so far has been rocky.
Her decision to pull a “60 Minutes” story about conditions inside an El Salvador prison that housed undocumented Venezuelan migrants from the U.S. received widespread criticism and accusations of political motivation. The network said the story was held for more reporting, and the segment eventually aired.
There was more upheaval last week at the news magazine, when “60 Minutes” correspondent and CNN news anchor Anderson Cooper announced that he’d be leaving to spend more time with his family.
And earlier this year, a veteran producer at “CBS Evening News With Tony Dokoupil” was fired after he expressed disagreement about the editorial direction of the newscast.
Now, the concern is that similar changes could be in store for CNN, which has long been a target of President Trump’s ire. He has personally called for the ouster of hosts at the network who have questioned his policies.
CNN Worldwide Chief Executive Mark Thompson tried to quell some of those fears, particularly inside his own newsroom.
In an internal memo dated Thursday and obtained by The Times, Thompson urged employees not to “jump to conclusions about the future” and try to concentrate on their work.
“We’re still near the start of what is already an incredibly newsy year at home and abroad,” he wrote in the note. “Let’s continue to focus on delivering the best possible journalism to the millions of people who rely on us all around the world.”
Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.
(Shannon Finney / Getty Images for Semafor)
CNN declined to comment beyond Thompson’s memo.
Ellison has said his vision for a news business is one that is ideologically down the middle.
“We want to build a scaled news service that is basically, fundamentally in the trust business, that is in the truth business, and that speaks to the 70% of Americans that are in the middle,” he said during a Dec. 8 interview on CNBC, shortly after Warner said it had chosen Netflix as the winning bidder for its studios, HBO and HBO Max. “And we believe that by doing so that is for us, kind of doing well, while doing good.”
Ellison demurred when asked whether Trump would embrace him as CNN’s owner, given the president’s past criticisms of the network.
“We’ve had great conversations with the president about this, but … I don’t want to speak for him in any way, shape or form,” he said.
First Amendment scholars have raised concerns about press freedom and free speech rights under the Trump administration, particularly after last month’s arrest of former CNN journalist Don Lemon and the Federal Communications Commission’s pressure on late-night hosts like Jimmy Kimmel and Stephen Colbert.
Press freedom groups have long asked questions in other countries about how authoritarian regimes use their power and “oligarchical alliances to belittle, silence, and punish independent journalistic voices, or to steer media ownership toward … a preferred version of the truth,” said RonNell Andersen Jones, a 1st Amendment scholar and distinguished professor in the college of law at the University of Utah, in an email.
“We see them asking at least some of these questions about the U.S. today,” she wrote.
Apprehension about the merger also extends beyond its implications for CNN and the media business.
Lawmakers such as Rep. Laura Friedman (D-Glendale), Sen. Adam Schiff (D-Calif.) and Sen. Cory Booker (D-N.J.) have raised concerns about how the consolidation of two major Hollywood studios could affect industry jobs and film and television production — which has significantly slowed since the pandemic, the dual writers’ and actors’ strikes in 2023 and corporate cutbacks in spending.
Sen. Elizabeth Warren (D-Mass.) called the deal an “antitrust disaster” that she feared could raise prices and limit choices for consumers.
“With the cloud of corruption looming over Trump’s Department of Justice, it’ll be up to the American people to speak up and state attorneys general to enforce the law,” she said in a statement.
Already, California Atty. Gen. Rob Bonta has said the merger isn’t a “done deal,” adding that he is in communication with other states attorneys general about the issue.
“As the epicenter of the entertainment industry, California has a special interest in protecting competition,” he posted Friday on X.
The deal is subject to approval by the U.S. Justice Department. Bonta and other state attorneys general are expected to file a legal challenge to the mega-merger on antitrust grounds.
Ellison addressed some of these concerns in a statement Friday.
“By bringing together these world-class studios, our complementary streaming platforms, and the extraordinary talent behind them, we will create even greater value for audiences, partners and shareholders,” he said. “We couldn’t be more excited for what’s ahead.”
Times staff writer Meg James contributed to this report.
-
World2 days agoExclusive: DeepSeek withholds latest AI model from US chipmakers including Nvidia, sources say
-
Massachusetts3 days agoMother and daughter injured in Taunton house explosion
-
Montana1 week ago2026 MHSA Montana Wrestling State Championship Brackets And Results – FloWrestling
-
Louisiana5 days agoWildfire near Gum Swamp Road in Livingston Parish now under control; more than 200 acres burned
-
Denver, CO3 days ago10 acres charred, 5 injured in Thornton grass fire, evacuation orders lifted
-
Technology1 week agoYouTube TV billing scam emails are hitting inboxes
-
Technology1 week agoStellantis is in a crisis of its own making
-
Politics1 week agoOpenAI didn’t contact police despite employees flagging mass shooter’s concerning chatbot interactions: REPORT