“Licensing fees for shows can often be the highest expense on a school production’s budget. Depending on the show, amount of performances, ticket prices, etc, they can often range to $2,000-$3,000. In fact, according to MTI’s Cost Estimator, a 4 performance run of “Annie” with an auditorium of 200 seats, tickets at $15 and a 4 performance run(standard for most high schools) would likely cost between $1,998 – $2,703. That’s a lot for any school but near impossible for one with very little funding.”
Rockefeller University neuroendocrinologist Bruce McEwen gives a rundown of the mechanisms and the (worrisome) effects.
Oh, yes, it definitely happens – far more often to young children, but to some adults as well. (Hey, it takes away the dread, at least temporarily.) It’s all about glucose in the brain.
In January, the company’s board of directors decided not to renew the contracts of Ron Cunningham and Carinne Binda, who had led Sacramento Ballet for three decades and developed it into a fully professional outfit. They’re being replaced, as of next season, by Amy Seiwert, who spent most of the 1990s dancing in the company under Cunningham and Binda.
“I go to a lot of musicals. I listen to a fair amount of pop music. A lot of pop music that is successful is catchy. A lot of musicals that aren’t successful aren’t catchy. Brit composers seem addicted to wordy exposition that furthers the plot but leaves the brain the second the song has stopped. Even pop stars who should know better – *cough, cough Gary Barlow* – seem to think a musical is more about a thesaurus than a chorus.”
Time was that big musical hits on Broadway or in London’s West End would get limited runs in the rest of Europe. No more. Audiences are flocking to the theatre.
“Depictions or suggestions of tobacco use in top-grossing movies rose 72 percent from 2010 to 2016, according to the report, published by the Centers for Disease Control and Prevention. The increase was especially large among top-grossing movies with R ratings, which saw a 90 percent rise in tobacco-use imagery, though researchers noted with special concern that movies rated PG-13 also saw a sizable increase: 43 percent.”
“[There’s a] cultural bias against women’s voices and the domestic truths of women’s lives and the deep role this has played in painting Plath as both a pathetic victim and a Cassandra-like, genius freak. It is only in a culture where these two things be claimed simultaneously that Hughes, a known philanderer and violent partner, can spend forty years botching the editing of, or outright destroying, his estranged, now dead wife’s work, then win every conceivable literary prize and be knighted by the Queen.”
Oh, dear – this isn’t going to be pretty, even if it is good. “If the … project does become Tarantino’s next film, it becomes unique in that it will be his first movie to be based on true events.”
“Exodus to Shanghai is a film that claims to tell the story of Ho Feng-Shan, Chinese consul for Vienna, a rescuer of Jews in prewar Austria. While indeed based on true events, it may be the first Holocaust film that heavily features martial-arts-action scenes. The cast includes German actors, as well as Romanians, some Asians, and two young blond models. It was completed in Israel and sponsored by the Fashion TV channel. Sounds delusional? Not in the eyes of the filmmakers.”
As Slate puts it, “John McWhorter explains why we love shrinkage.” (podcast)
The fraudulent letter-writing campaign wasn’t a small-time operation. Thousands of form letters had been filed online, fraudulently signed under the names of real people, from Utah to Maine. “Whoever set this up got a large cloud service to a rate-limited public FCC API that doesn’t allow many submissions. They had to spin up a huge number of servers to make it work.”
Conspiratorial “experts” like Jay Weidner assert that the airport’s murals and capstone prove the existence of a secret government plan for a “New World Order.” Others implicate the airport in the murder of JonBenét Ramsey. One local Evangelical Christian group, Cephas Ministries, claimed that the DIA was built as part of a plot to murder the “people that Lucifer hates.”
“Smoking used to be significant, especially on film and TV. It is now even more so. At first, it was a prop; famously, or so it was said, a way of giving actors something to do with their hands. I prefer to think that it is a way of expressing, or evading, some deep inner turbulence. It signifies nonchalance and its opposite, while providing for the camera and our gaze a curling backdrop of smoke with which the cinematographer can make play.”
“The demand for democratization isn’t rebellious, but rather, our responsibility as citizens—to push our field to be more representative of the America we live in. The “gatekeeper types” have represented a small and exclusive part of our democracy and we must be challenged, and we don’t have to react defensively. Rather, we might have to feel the precariousness that women and trans people and people of color know so very well.”
Megan McArdle: “Republicans apparently kept right on loving their colleges until 2015. After all, many Republicans can thank college for getting them a good job. A team to root for on frosty autumn days. Some lovely, hazy memories of beer pong tournaments. Heck, maybe they even learned something. So why, just in the last couple of years, would conservatives turn against colleges with a vengeance?”
“Media attention to rape in film is targeted mostly at how audiences perceive the scenes and lamenting the studios’ sheer mass of sexual violence on screen. Many articles ask the question: Are these scenes gratuitous? But rarely do we think about the filmmakers, actors and crew who make on-screen rapes happen, like MacNair. How do they feel? Are they tired of rape scenes? Or what if portraying rape could actually be a positive thing?”
“From the basement of his house in Hackney, an artsy borough in London’s East End, [Jon] Underwood perpetuated a movement that spread to more than a dozen countries with more than 1,000 gatherings. … These were not grief support groups or end-of-life planning sessions, but rather casual forums for people who wanted to bat around” – over tea and cake, a key element of the project – “philosophical thoughts. What is death like? Why do we fear it? How do our views of death inform the way we live?
“When invited by the Joyce Theater to return to its Ballet Festival, a biennial event spotlighting independent and emerging ballet choreographers, [Emery LeCrone] thought back to the 2015 festival when her troupe made its Joyce debut, performing for two nights. Despite selling out both shows, she came out of that experience in a state of what she calls ‘burnout, completely.'” Happily, “financially, this time is different.”
Matthew Olson started with “send me a landscape” and was chagrined to receive Robert Gober’s Prison Window. (“What does it say about me that my landscape riffs on a prison cell?”) So he kept trying – and moved on to requests like “send me an idea” and “send me joy.” (The response to his final request, the notorious eggplant emoji, suggests that SFMOMA may need to tweak its algorithm a little.)
A longread by Joseph Carman surveys the damage of the past few years, especially at regional newspapers, and the newer fora in which coverage of classical music is surviving and growing. As ArtsJournal’s own Doug McLennan tells Carman, “We’re in that period where it’s not obvious yet what’s going to win out as the best way of doing all this. But I have no fears at all that it’s simply going to vanish. It’s not a zero-sum game. It’s an evolution. And evolution is painful sometimes.”
The Dallas Museum of Art has acquired All the Eternal Love I Have for the Pumpkins, completed last year and Kusama’s first pumpkin-themed installation since 1991. The work goes on display Oct. 1.
“Trading bombast for rigorous research, he wrote acclaimed biographies of American innovators as varied as Edgar Allan Poe, Samuel Morse, John Cage, Harry Houdini and [Cotton] Mather himself, in a research-intensive process that Dr. Silverman described as ‘wrestling with an angel.'”
Aurélie Dupont: “Normally when you’re a ballet dancer, you do not ever show the effort when you dance, so you never breathe. Because breathing means that you need air, and if you need air that’s not good, and, anyway, you never learn how to breathe in school. Never.” Reporter Gia Kourlas talks with Dupont, former étoile and current director at the world’s oldest and most august ballet company, and choreographer Saburo Teshigawara.
“I don’t know anyone who … ”
Recently, a colleague presented a workshop on nonprofit financial management to a group of board members of and volunteers for very small grassroots social service organizations. In the course of … read more
AJBlog: Engaging Matters Published 2017-07-11
A Bit Of Moscow Music
Our occasional Rifftides Russian correspondent, Svetlana Ilicheva, writes that one of her favorite listening spots in Moscow is the Zhurfac café. Not far from the Kropotkinskaya metro stop on Gogol Boulevard … read more
AJBlog: RiffTides Published 2017-07-11
A statement said: “Our focus is on achieving the right result for the sector and Arts Council England, so we are reviewing our approach to ensure that we meet these needs. Once a decision has been made, we will of course make all interested parties aware.”
“It’s harder to devote the time to finding out about and writing about a new band’s debut or second release. So you have an increasing number of albums that are released and sink without trace because something from one of the more established acts came along, attracted everyone’s attention and few people spent the time required to decipher the new act’s work.”
Denis Johnson, author of the story collection Jesus’ Son and the National Book Award-winning novel Tree of Smoke, did live long enough to learn that he won the prize: he was notified in March and passed away in May at age 67.