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Review: 'The Golf 100' isn't so much a pecking order of greatest players. It's an index of lively profiles

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Review: 'The Golf 100' isn't so much a pecking order of greatest players. It's an index of lively profiles

From John McDermott’s fragile psyche to the sustained excellence of Jack Nicklaus and Tiger Woods — or Woods and Nicklaus; no spoiler here on who’s No. 1 — this countdown of the top golfers is less a list than an index of insightful, lively profiles rife with anecdotes centered on their most joyous and miserable moments.

“The Golf 100: A spirited ranking of the greatest players of all time” is the 16th title by author Michael Arkush, most of them from the sports realm including New York Times bestsellers “The Last Season” with Phil Jackson and “The Big Fight” with Sugar Ray Leonard. This one is all Arkush and displays his storytelling — some sweet, some savory, a few bitter — in bite-size pieces.

He includes greats from the early 20th century. He includes greats from other countries. He includes women. Why? Because their stories are compelling, even if ranking them became messy.

So, yes, there are 100 in all, spread over 366 pages.

Lists of the greatest golfers aren’t a novel conceit. GolfDay published one a year ago. Golf Digest has its own. Folks have concocted lists on Reddit. Bleacher Report took a swing. There is even the website thealltimegreatestgolfers.com.

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Times sportswriter Houston Mitchell got more than 12,000 readers to respond in 2009 to a poll ranking golfers. The top five are among Arkush’s top 10, although not remotely in the same order.

Most rankings are based on point systems, assigning weighted numbers to categories such as total tournaments won, top-10 finishes, player of the year awards, career longevity and performance in the four majors — the U.S. Open, Masters, British Open and PGA Championship.

Arkush prioritized the majors, writing in the forward that they “feature the strongest fields and, more often than not, are staged on the most demanding courses. When history is on the line.”

Still, Arkush allowed himself license after covering professional golf for 30 years (he was an entertainment reporter for The Times from 1988 to 1995). Once the numbers were tabulated, he shuffled the deck by employing subjective criteria such as a golfer’s impact or contributions to the sport.

“I was similar to a juror who, despite a stern warning from the judge not to let evidence deemed inadmissible be a factor in the verdict, couldn’t help its affecting his thinking in one way or another,” Arkush wrote.

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An example is his inclusion of Francis Ouimet, a name unfamiliar to all but the most serious golf history buffs. He won the 1913 U.S. Open at the tender age of 20 over Harry Vardon, a British golf titan credited with inventing the modern grip and swing. Bobby Jones, the epitome of class, came along next, and the pendulum soon swung to the U.S. side of the Atlantic.

Like so many writers, Arkush was loath to let numbers get in the way of a good yarn, beginning with ranking McDermott at No. 100. The cheeky son of a mailman became the first American to win the U.S. Open in 1911 — at age 19 — one year after he finished second to Scottish immigrant Alex Smith, telling him as they exited the course, “I’ll get you next year, you big tramp.”

McDermott’s penchant for popping off soon got him in trouble, and that was followed by a steep fall. He embarrassed the more genteel of his countrymen by bragging about his Open victories in the presence of Vardon. Then he was saved by a lifeboat after being a victim of a shipwreck. Then he lost a fortune in the stock market. Then he was committed to a sanitarium in 1916 and was never the same.

Arkush concludes the profile describing a chance meeting between an elderly McDermott and a gracious Arnold Palmer that provides a poignant connection between the infancy of professional golf in America and its elevation in stature to the “Arnie’s Army” level by 1970.

Only 99 to go.

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The list includes 15 women, trailblazers and champions such as Mickey Wright, whose 82 Tour victories included 13 majors and whose swing was lauded as the best of anyone regardless of gender by no less than Ben Hogan.

Pioneers of the sport, firmly planted in the wellspring of 19th-century Scotland, are given their due. While the Union and Confederate armies were preparing for war across the pond, Willie Park Jr. and Old Tom Morris exuded geniality and competence on the green, dominating the British Open from its inception in 1860 through more than a decade.

Old Morris passed on his mashie niblick — an early term for a seven iron — to his equally talented son, Young Tom Morris, who won the British Open four times from 1868 to 1872. They are the only father-son combo among the 100.

Americans began to hold their own by the 1920s, and professional golf has increased in popularity as a spectator sport to this day. It’s also an endeavor that nearly anyone can try and many become passionate about.

One hundred is a somewhat arbitrary number to cap excellence, impact and irresistible storytelling. It’s plenty for Arkush to mine, though, and relate the history of golf through the very best golfers.

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As for the thorny task of comparing golfers across generations and even centuries, Arkush leans on the wisdom of Jones, whose words can be extrapolated fairly to include women as well as men:

“I think we must agree that all a man can do is beat the people who are around at the same time he is. He cannot win from those who came before any more than he can from those who may come afterward.”

Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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