James' World 2

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Max Brooks is getting a little tired of being proved right. An author with cult appeal and massive sales, he is regularly referred to as “a soothsayer” and “a genius”. His 2006 novel, World War Z, was about a deadly virus originating in China that causes global devastation, and his compulsive new one, Devolution: A Firsthand Account of the Sasquatch Massacre, is about people forced into self-isolation, huddling in terror from an unimaginable threat outside. But Brooks, 47, is dismissive of the hyperbole: “Everything I write about has already happened. The history of pandemics tends to come in extremely predictable cycles. So if I’m the smartest guy in the room, we’re in big trouble,” he tells me over Skype from his home in Los Angeles (our interview was in May, before the national protests after the killing of George Floyd, but well after lockdown started.). He has the jittery energy of the chronically anxious, and the easy confidence of one who has been thoroughly validated.

He certainly saw the coronavirus coming long before most politicians, and was making preparations in January. On 16 March, when most people in the western world were barely getting to grips with the lockdown, he made a video about the importance of social distancing to protect the elderly. He enlisted the help of the oldest person in his life, his father, comedy god, Mel Brooks. “If I get the coronavirus, I’ll probably be OK. But if I give it to him, he could give it to Carl Reiner, who can give it to Dick Van Dyke, and before I know it, I’ve wiped out a whole generation of comedic legends,” says Brooks, pointing to his father behind a glass door and listing his closest friends. The video has been watched more than 16m times. “I wasn’t given some secret information. I got my information from the news. Really deep state: turning on CNN and watching Wuhan getting locked down,” he says dryly.

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‘Everything I write about has already happened’ … Max Brooks. Photo by Valerie Macon / Getty Images.

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In 1998, Boston Youth Symphony Orchestras launched the Intensive Community Program (ICP) as a response to the barriers keeping classical music training out of reach for many would-be musicians, including African Americans and Latinxs, who are underrepresented in orchestras.

The program lowers those barriers in Massachusetts by providing top-tier orchestra training to students in kindergarten through twelfth grade from underserved communities in and around Boston. ICP serves as an audition-based feeder program for BYSO’s six performance ensembles — 12% of BYSO musicians attend ICP.

First Republic spoke with ICP Artistic Director Nicole Cariglia and students Kensie Carroll and Noanddi Manigat to learn about their intensive music community, which adapted to virtual performances in the wake of the pandemic.

Waking up to music

As a very young child, 9-year-old Kensie Caroll woke up each morning to the sounds of cello and viola as her two sisters, twins six years older than Kensie, practiced their respective instruments for ICP.

“She was in a stroller, going to Sydney and Sadie’s auditions,” said Kensie’s father, Marc. Born into their music and the ICP lifestyle, when Kensie auditioned for the program at the age of four, she was ready.

But five years ago, as Kensie’s parents considered having her audition for ICP, Artistic Director Nicole Cariglia was a bit concerned: “I said, ‘Marc, she’s really young.’” Most four-year-olds don’t earn one of the selective program’s 90 slots. Kensie did. And as she began her own cello training, the demands didn’t surprise her. “By default, she knew what she had to do: Get up, practice, then go to school, and then go to the rehearsals and lessons,” Marc said.

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Diversifying Musical Training

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