SpaceX’s Second Starship Flight Test Results In Another Explosion | Forget quiet luxury. 'We don't need half of these things,' celebrity stylist Allison Bornstein says | | Secrets of the East German Oboe Underground

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SpaceX’s Second Starship Flight Test Results In Another Explosion - Forbes

The second test flight for SpaceX's large, two-stage Starship rocket resulted in an explosion Saturday, though the flight went further than the first test run SpaceX held in Aprilâwhen the spacecraft was lost just a few minutes after liftoff.

SpaceX's Starship rocket launches from Starbase during its second test flight in Boca Chica, Texas, ... [+] on November 18, 2023. (Photo by TIMOTHY A. CLARY/AFP via Getty Images)

The rocket, which was uncrewed, successfully separated from its booster unlike it did in its first test flight and flew on its own until about 10 minutes into the operation, when a SpaceX official said an automated termination system was likely triggered as it flew over the Gulf of Mexico.

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Forget quiet luxury. 'We don't need half of these things,' celebrity stylist Allison Bornstein says - CNBC

It's not often we're told to buy less, at least on social media.

More likely, we're encouraged to wear Loro Piana cashmere baseball hats and carry $300 Smythson notebooks like Gwyneth Paltrow in the name of "quiet luxury" and justify such expensive purchases using "girl math."

That's in addition to the current"treat" culture trend,which promotes spending money on smaller splurges such as at Starbucks as a form of self-care.

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Secrets of the East German Oboe Underground - The New Yorker

No one has ever become world-famous by playing the oboe. Although the instrument has an integral role in the orchestral ecosystem—every ensemble tunes to its piercing A—the sweet-and-sour tang of its sound limits its popularity as a solo voice, particularly in comparison with the mellifluousness of the flute or the clarinet. To be sure, classical-music aficionados can reel off the names of significant oboists past and present: the pioneering British virtuoso Léon Goossens; the French-born Marcel Tabuteau, who exerted a vast influence on American oboe playing during his long tenure with the Philadelphia Orchestra; and the contemporary Swiss oboist, composer, and conductor Heinz Holliger, who has greatly expanded the instrument’s repertory. Yet none quite counts as a household name.

The forty-year-old American oboist James Austin Smith, who recently presented “Hearing Memory,” an adventurous program of East German music, at National Sawdust, in Brooklyn, has made his path all the more challenging by choosing to work outside the orchestral cocoon. Someone with his high level of training—he studied at Northwestern University, the Yale School of Music, and the Leipzig Hochschule für Musik und Theater—might have been expected to make the rounds of orchestra auditions, in the hope of winning a post in New York, Chicago, Los Angeles, or the like. Smith has remained independent, although in 2017 he found a measure of stability by assuming a teaching post at Stony Brook University.

“I have many good friends in orchestras,” Smith told me. “But it’s not for me—the politics of it all, the way you’re locked into a certain repertory. When you’re outside the orchestra, you can end up feeling like marginalia, because there are so few really well-known pieces for oboe. For years, I did the freelance hustle. Then, during the pandemic lockdown, I had this realization: ‘You’re only doing what other people ask you to do. You’re always fulfilling other people’s visions.’ It made me think about what I care about, as an artist and as a thinker. And that’s how I ended up spending three years assembling this East German program.”

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