“At their current rate – anywhere between 10 and 13 new cinemas a day – China will have 60,000 screens in 10 to 15 years. The centre of gravity is shifting so rapidly to China and Asia – not just the market but also the money and capital for American movies – that their opinions are going to matter much more. Ultimately, China is going to be not just the biggest market but also the arbiter of what can get made and will get made.”
“In 11 experiments involving more than 700 people, the majority of participants reported that they found it unpleasant to be alone in a room with their thoughts for just 6 to 15 minutes. Moreover, in one experiment, 64 percent of men and 15 percent of women began self-administering electric shocks when left alone to think.”
“At night, all lit up and crowded with apartments and hotels, Mecca now looks like a Saudi interpretation of Gotham or even Las Vegas … and shopping malls and high-rise blocks are being built in a circle around the pilgrimage zone.” The Saudis are catching a lot of flak for these changes, but Nesrine Malik argues that they are both necessary and (certain excesses notwithstanding) well-considered.
“In a letter sent Friday, the Rhode Island Democrat urged U.S. Transportation Secretary Anthony Foxx to speed implementation of a 2012 law that requires commercial air carriers to allow musical instruments as carry-on items as long as they can be safely stowed in the aircraft cabin. But Reed said the law has not taken effect because the Department of Transportation has yet to adopt the specific rules needed for the provision.”
Karen Walter Goodwin’s “idea was essentially to provide an investment bank for nascent stage productions, putting together producers — who were enthralled by the idea of financial backers who did not crave or require creative input — and investors with proven track records who were willing to try their hand in a new arena.”
“As recently as the late 1980s, playing in a Broadway musical was not considered the most desirable gig for a musician. Most professionals sought better-paying work in jingles and recording sessions. But as that work dried up, due in part to samplers and digital-audio software, the ace musicians gravitated toward theaters near Times Square.”
“Schlock, at its finest, is where bad taste becomes great art. Schlock is music that subjugates all other values to brute emotional impact; it aims to overwhelm, to body-slam the senses, to deliver catharsis like a linebacker delivers a clothesline tackle. The qualities traditionally prized by music critics and other listeners of discerning taste — sophistication, subtlety, wit, irony, originality, “experimentation” — have no place in schlock.”