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李宗盛
回复 :砥砺奋发的2022年即将过去，拼搏奋进的2023年大步走来，值此辞旧迎新之际，《西安人的歌· 一乐千年跨年演唱会》继续秉承地域性、烟火气、时代感、网感的创作特色，献上对新时代奋斗者的礼赞。作为一个励志的音乐IP，本季创作以“一乐千年”为主题，通过陕西本土音乐人、话剧演员、科技工作者、教育从业者等各行各业的从业者讲述故事及演唱喜爱的歌曲等形式，为深深印刻在长安记忆里的诗、歌、乐、舞，寻找当下注脚，寻找西安注脚，寻找经典飞入百姓家的人文注脚。
李元硕
回复 :《局部》第三季，“伟大的工匠——意大利文艺复兴湿壁画”，由看理想主讲人，画家陈丹青主讲，继续跟随他的语言，洞察与审美深度寻访意大利数十座教堂、修道院，实地拍摄文艺复兴早期的湿壁画工匠创作，揭示文艺复兴的另外一面。
乔史崔尼
回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
