“Seven years ago, the Colorado Ballet appeared to be at a financial death’s door, but Saturday’s bustle and a 2017 season finishing with record attendance and box-office receipts show the company is very much alive.”
“It’s 2017, and EDM, a disposable culture from the start, is rotting in the trash. Battered by its association with bro culture and drug deaths, the genre has become America’s anthem for vomit and sexual coercion. Since the last time I was in Miami, SFX has gone bankrupt, Avicii has retired, and even Skrillex, once the genre’s poster child, is returning to his rock roots and collaborating with Incubus. So what happens to Miami Music Week, once the epicenter of America’s corporate dance music bubble, in today’s post-EDM world?”
“Rock music is in its jazz phase And I don’t mean it’s having a Kamasi Washington/Thundercat moment of extreme hipness. I mean it’s like Ryan Gosling’s version of jazz in La La Land: something fetishised by an older audience, but which has ceded its place at the centre of the pop-cultural conversation to other forms of music, ones less tied to a sense of history. Ones, dare I say it, more forward looking. For several years, it seemed, I was asked by one desk or another at the Guardian to write a start-of-year story about how this was the year rock would bounce back. But it never did. The experts who predicted big things for guitar bands each year were routinely wrong. No one asks for that story any longer.”
Shawn Theagene joined the Bloods at age 12, dealt drugs by age 14, and got a knife in the back of the skull at 15. Twenty years on, he says the ‘bruk up’ style of street dance saved him, and he’s spreading it to others.
In a Q&A with Michael Cooper that also touches on how he sees his role as music director (he takes up the post in 2020) and his relationship with General Manager Peter Gelb, Yannick Nézet-Séguin says “The Met for the past few years has been involved in a lot of Met premieres, which were not world premieres … I like this, but I am really passionate about being personally involved in every step of the birth of a new piece. We will definitely get involved again in world premieres. And one way we found to make that work will be through collaborations with [the] Philadelphia [Orchestra],” where YNS is also music director.
“The original Serial first season took seven weeks to reach 10 million downloads, setting a record at the time in reaching that milestone.” S-Town passed the 10 million mark in four days.
“[He] contributed more than 1,600 cartoons to The New Yorker beginning in the mid-1970s. His work, which featured talking toasters, the Lone Ranger, Sammy Davis Jr. and more, was defined by a satirical, silly, observational style.”
“The 72cm high plasterwork of a naked, muscular man carrying a young woman bears the sculptor’s engraved signature and was a preparatory work for Rodin’s bronze sculpture I Am Beautiful [Je suis belle]. … It went unnoticed until the death of its owner in 2013, when it was spotted in a box in furniture storage in Biarritz.”
And what is Soosan Lolavar’s opera – titled ID, Please – about? Immigration.
Didn’t this lesson sail into clear view after the Boaty McBoatface imbroglio? Or five years ago, when Mountain Dew solicited names for a new apple-flavoured drink? That campaign, “Dub the Dew,” was hastily aborted when the company suddenly realized it might be forced to sell a beverage dubbed “Hitler Did Nothing Wrong.”
“If you are a performer who is also a dance captain, your minimum salary increases by $300. If you are an assistant dance captain, it increases $150. For each principal role that you are understudying, your minimum increases $33. For every performance in which you, as an understudy, actually end up playing that principal role, you get an extra 1/8 of your weekly salary. Tony nominated lead actors normally see a $500 per week pay bump while winners can see that number climb to $1000 per week.”
In his memo announcing the move, first published by Bill Cooke’s Random Pixels, Herald managing editor Rick Hirsch wrote, “Rene’s assignment obviously means that he will no longer be working as a film critic. That decision is one of several coverage shifts we’ve made to reflect what our audience is telling us about the news they value most.”
“People rated aspirationally, but they watched situationally. Yes, you did give That Important Documentary five stars when you got around to watching it, but at the end of a trying day at the office, you more often settled on viewing some pleasing pap like “The Ridiculous 6.” This sort of virtue signaling, often undercut by divergent behavior, is everywhere — witness the discrepancies that sometimes occur between polling and actual voting in elections.”
“Let me tell you something. When Steven Spielberg calls your agent to say he is infatuated with your writing, that is a good day. The saga of what came next is so long and complicated it would take a book to write it all out. Sometimes I think of writing that book and sometimes I think that writing that book and reliving the whole thing would be somewhat akin to shooting myself in the head.”
“Representative Rob Bishop, a Republican from Utah and chairman of the House Committee on Natural Resources, are ramping up a campaign to strip away the president’s authority under the Antiquities Act to designate monuments. Mr. Bishop complains that it allows the federal government to “invade” and “seize” lands. But that’s not true. The act authorizes the president to protect only lands already “owned or controlled by the government of the United States,” not state or private land.”
This is the problem: “Every organizational schema is a doomed attempt to blanket chaos with order, and only more so the grander its ambitions. It may be possible to draw a sensible line delineating science from nature, art from design, autobiography from memoir, or war history from American history from Native American history, but to do so is to suggest that any one exists independently from the other. The clear lines bleed and become wobbly.”
Bunch, speaking of Eugene Ballet Artistic Director Toni Pimble: “There were times when I’d play what I had for her, and she’d say, ‘That’s great, but I’m going to need probably twice that length, because of the time it’s going to take people to get off the stage.'”
The theory: “Put free ‘speech’ as such to one side, and replace it with a series of more narrowly targeted expressive liberties. Rather than locating actions such as protest and whistleblowing under the umbrella of ‘free speech’, we could formulate specially tailored norms, such as a principle of free public protest, or a principle of protected whistleblowing.”
(Hint: It’s for a movie.) “The plan was announced, and the cubes came out. Each had five mirrored sides, with elasticized black fabric on the bottom that hugged wearers’ necks. Built-in bicycle helmets held the cubes in place, and the front panels were two-way mirrors, so the actors could see where the heck they were going.”
Lerman, who teaches at Arizona State University, “has paved the way for a whole generation of dance makers to discover the power of social change through community engagement and by, as she puts it, ‘rattling around in other people’s universes.'”
The artist whose work is on display says it’s a big responsibility. Zak Ové: “Imagine representing the whole of the Caribbean in one moment? … I have to get this right, otherwise I’ll never hear the end of it.”
Basically, the set designer had to work super, super hard. “We probably redesigned the show 18 different times,” says David Korins. Many things changed and, perhaps, evolved.
Those were just two of the scandalous allegations in a spy’s report to Queen Elizabeth I’s Privy Council – a document that’s now available to the public online.
“The freezing in text of dialectical reasoning, with a heavy admixture (however impure or problematic) of poetry, aphorism and myth, became the model for what, in the European tradition, was thought of as ‘philosophy’ for the next few millennia. Why are these historical reflections important today? Because what is at stake is nothing less than our understanding of the scope and nature of philosophical enquiry.”
“For more than 200 years, male British authors (usually poets, usually in pairs) have co-written or co-edited collections, anthologies or scholarly travel journals. It’s a tradition that is in surprisingly rude health, with recent examples and forthcoming festivities marking the 50th anniversary of a collaboration that sold shedloads.”
“I’m a very hard worker, and I know that about myself. But I like a supportive environment, and I don’t necessarily think I do my best in that competitive, edgy vibe. And I knew something different down here. I knew that there was like a real supportive family vibe. I’m just very grateful that this existed down here. If it hadn’t, I don’t know – I don’t know if I would have pursued it.”
“There has been a new twist to an eight-year old legal battle between Christie’s and France’s associations of antique dealers and galleries. A French court stated on 24 March that artist’s resale rights must be paid by sellers, with no exception. Saying that the ruling might hurt the contemporary art market, the auction house is now challenging the judgement in front of the high court.”