Michael Cunningham: “The AIDS epidemic didn’t mean the end of dancing, or sex, or drugs. It didn’t have much effect at all on the general interest in youth, beauty and money. But it’s putting it mildly to say that this new guest, the silently grinning one standing by itself in a corner, dankened and befouled the atmosphere.”
“Based on my reporting, my own experience, and interviews with more than a dozen writers, the current median price for a freelancer’s work is between 25 and 50 cents per word (though, to be clear, most places no longer pay per word; they pay lump sums that work out to about $500 for a 1,000- to 2,000-word article). Speaking to Black Enterprise, Ben Carruthers, vice president of the Society of American Travel Writers, suggested that a similar $500 rate was standard…in 1977.”
“Civilizations,” like “Ways of Seeing,” is an attempt to update Clark’s series. But it’s also an unprecedented undertaking in the annals of television. Unlike “Civilisation,” which was focused on Western art from the so-called Dark Ages until the 20th century, the scope of “Civilizations” is global and reaches right back to cave painting.
Artificial intelligence is a very powerful technology, and there is an arms race going on. Fast forward 20 years into the future and one of the players could have won the race. China is more likely to win than Russia is, although Russia has a lot going on. So, we could end up in a world that China may not formally control, but they effectively do because they rule the cyberworld.
Theatres across the UK face unexpected costs in excess of £180 million under “devastating” EU proposals to ban the vast majority of stage lighting by 2020. Costs in London alone are expected to reach £35 million as venues are forced to replace most of their lighting equipment, with experts warning that venues could go dark as a result.
The music Pulitzer was an obscure bauble coveted only by the people who cared about it, of which there were not many. Forget the big reporting and magazine awards; even the poetry Pulitzer mattered more than music. Grammys are the awards that count most in music, and given that Kendrick is already loaded with golden gramophones — though the Album of the Year continues, unconscionably, to elude him — the Pulitzer is just a feather in his Dodgers fitted cap.
“To understand what went wrong — how the Silicon Valley dream of building a networked utopia turned into a globalized strip-mall casino overrun by pop-up ads and cyberbullies and Vladimir Putin — we spoke to more than a dozen architects of our digital present. If the tech industry likes to assume the trappings of a religion, complete with a quasi-messianic story of progress, the Church of Tech is now giving rise to a new sect of apostates, feverishly confessing their own sins. And the internet’s original sin, as these programmers and investors and CEOs make clear, was its business model.”
Andrew Sean Greer: “I think every novelist has a list of novels they never wrote – and never plan to write. Some are impossible dreams. Some are good ideas over a bad bottle of wine. And some are, let’s admit it, just bad ideas. Really bad ideas. So for what it’s worth, a little advice …”
In London, the Elgin Marbles were hidden in Aldwych tube station – although, alarmingly, it was later revealed it wouldn’t have withstood a direct hit. In Paris, the Louvre was emptied out in 1939, with 3,600 paintings packed off to safe houses. The Mona Lisa – now considered too fragile to be moved – was shuttled round the country five times, moving from chateau to abbey to chateau, to keep her one step ahead of the Nazis.
“The narrow lens is one of the play’s surprises: It examines the titanic forces of urban renewal via a single establishment, never leaving the checkerboard-tiled stage of [Memphis Lee’s] diner. For a play about sweeping change, what emerges is a slow portrait, one that tries to convince you that everything depends on the fate of this single black-owned soul-food cafe in Pittsburgh. … Another surprise in Two Trains Running is how far the play’s fears still echo today, some 50 years after the events depicted (and nearly 30 years since its debut).”
Dana Canedy: “In this case [the jurors] were considering a piece of music they felt had hip-hop influences and said, ‘Well if we’re considering a piece of music that has hip-hop influences, why aren’t we considering hip-hop?’ And someone said, ‘That’s exactly what we should do.’ And then someone said, ‘We should be considering Kendrick Lamar’ and the group said ‘absolutely.’ So then, right then, they decided to listen to the entire album and decided ‘This is it.'”
“‘I would rather try and fail than not try,’ he says. He’s applied that same philosophy to his career: Last fall, he decided to leave life as a ballet star behind to find out what possibilities might lie in musical theater, TV and film. In the course of our conversation, he repeats the same sentence over and over, like a mantra: ‘You never know how far you’re gonna go if you don’t jump.’ This is his jump.”
According to an official statement from the Florida Rep board, the reasons for the dismissal of Robert Cacioppo, who co-founded the Fort Myers company in 1998, were “behavioral problems [including] bullying, considerable absence, demeaning individuals (particularly women) both publicly and privately, and anger management issues.”
“After two years of planning and construction, and having raised an estimated $20m from Google, the Ford Foundation and private philanthropists such as the billionaire activist siblings Pat and Jon Stryker, the Legacy Museum and the National Memorial for Peace and Justice [in Montgomery] will be inaugurated with a two-day ‘peace and justice summit’ starting on 26 April.”
There will, no doubt, be many who oppose the decision. Chagall’s lofty position in the pantheon of Modern art is equalled by few, and bested by maybe only two: Pablo Picasso and Henri Matisse. David, a towering figure in French neo-classical painting, is no less important, an art historian would tell you, though in another era and for different reasons.
New research suggests the roots of friendship extend even deeper than previously suspected. Scientists have found that the brains of close friends respond in remarkably similar ways as they view a series of short videos: the same ebbs and swells of attention and distraction, the same peaking of reward processing here, boredom alerts there.
France’s protectionist laws, which require a 36-month window between a film’s theatrical opening and its streaming debut, seem like the last gasp of a rapidly dying era. And the manner in which Frémaux handed down the Cannes ban, at the same time as the festival announced it was putting the kibosh on red-carpet selfies, was high-handed and doctrinaire. (In other words, it was French.) It’s increasingly evident that Netflix doesn’t just want to “disrupt” the business of showing movies in theaters. They want to destroy it. But it’s also increasingly evident that Netflix doesn’t just want to “disrupt” the business of showing movies in theaters. They want to destroy it. Netflix CEO Reed Hastings told reporters last year the company wanted to “unleash film,” but he also spoke of the current state of exhibition with glib contempt.
Here’s how a dispenser works: It is shaped like a cylinder with three buttons on top indicating a “one minute,” “three minute” or “five minute” story. (That’s how long it takes to read.) When a button is pushed, a short story is printed, unfurled on a long strip of paper. The stories are free. They are retrieved from a computer catalog of more than 100,000 original submissions by writers whose work has been evaluated by Short Edition’s judges, and transmitted over a mobile network. Offerings can be tailored to specific interests: children’s fiction, romance, even holiday-themed tales.
The new team chose two of the six premieres City Ballet will present in the 2018-19 season, reaching beyond the traditional ballet world to commission works by Kyle Abraham and Emma Portner. They learned the puzzle-like intricacy of planning a year’s worth of ballets, which must be chosen so subscribers won’t see too many repeats and scheduled so the whole company — dancers, orchestra, costume shop and more — can handle the workload. And they learned to use analytic tools — think Moneyball, but for ballet — which forecast how well each dance will sell.
As online learning extends its reach, though, it is starting to run into a major obstacle: There are undeniable advantages, as traditional colleges have long known, to learning in a shared physical space. Recognizing this, some online programs are gradually incorporating elements of the old-school, brick-and-mortar model—just as online retailers such as Bonobos and Warby Parker use relatively small physical outlets to spark sales on their websites and increase customer loyalty. Perhaps the future of higher education sits somewhere between the physical and the digital.
Although differences emerge within the sector, the overall picture is of a homogenous workforce whose social networks are largely limited to other culture professionals and whose values are markedly different to those of any other occupation. Cultural workers are ‘the most liberal, most pro-welfare and most left wing of any industry.’ These same descriptions apply both to makers of culture and consumers: cultural workers attend four times as many cultural activities as people in working-class occupations. ‘Many in the sector really do have a distorted picture of just how unlikely it is for a working-class person to visit their institution,’ says Dr O’Brien. ‘Basically, you have a set of people who look very much like the audience that they are serving. We could consider the cultural sector a closed segment of society.’
The percentage of people working in publishing with working-class origins was given as 12.6%. In film, TV and radio it was 12.4%, and in music, performing and visual arts, 18.2%. “Aside from crafts, no creative occupation comes close to having a third of its workforce from working-class origins, which is the average for the population as a whole,” the report said.
“We have been friends for years, our families have stayed with each other and I believed we were close,” James White wrote to Marlowe Goring after his visit. “That is why I have tried to believe in you and refused to accept that you could steal from me and create a story of lies.” “I have been sitting here, knowing that this moment would come and I have dreaded this more than anything in my life,” Goring replied. He blamed sluggish sales, high overhead costs and unpaid taxes. And then he cut to the chase: “I have no money and I also have none of your art.”
The Margravial Opera House, built in 1478 by Frederick the Great’s sister and now one of the best-preserved 18th-century theaters in Europe, is reopening after a six-year, €30 million renovation with one of the operas performed when the house was new, Johann Adolf Hasse’s Artaserse.
“The complaints were compiled in a survey conducted by Paris Opera Ballet’s internal ‘artistic expression commission’ and sent to 132 dancers. It found that some 77 per cent said they had either been a victim of harassment in the workplace or seen a colleague mistreated … The survey was also damning for dance director Aurélie Dupont as it found that almost 90 per cent of dancers felt that they ‘did not have a quality management’. ‘The current director doesn’t seem to have any management skills or any desire to acquire such skills,’ reportedly wrote one dancer.”
Responding to the suit filed last month by Tonja Carter, Lee’s attorney and executor, arguing that Aaron Sorkin’s script deviates too much from the novel, a $10 million countersuit filed Monday argues that “the Agreement did not give Ms. Lee approval rights over the script of the Play, much less did it give her a right to purport to edit individual lines of dialogue. It certainly did not give such rights to Ms. Carter, who is not an author, editor, literary agent or critic, and has no known expertise whatsoever in theater or writing.”
“More than 60 presenting organizations and dance companies from around the world are expected to participate, and the Royal Ballet in London will be one of several to tackle Cunningham for the first time. … A highlight of the centennial will be a ‘Night of 100 Solos’ to be performed on the evening of Cunningham’s 100th birthday, April 16, 2019. One hundred dancers will perform anthologies (called Events) of solos from the 1950s to 2009” in Paris, London, New York, and Los Angeles.