The La Jolla Music Society, which presents touring classical and dance artists in metro San Diego, announced in late July that Florida Grand Opera executive director Susan T. Danis would become the Society’s CEO and lead its move into a new venue. Seven weeks later, following a “defamatory letter” about Danis that was sent to the La Jolla board, and later retracted, by a former FGO staffer, the vindicated Danis decided nevertheless to give up the job in La Jolla and remain at FGO. George Varga explains (as far as possible).
In some vague, indescribable way, we feel something when we see the first group of words that we may not with regards to the second. Is it just cultural, poetic, or linguistic prejudice that makes us like a some words, and not others? Or is there some other story behind why some words seem to alienate us?
“The new color uses nanotechnology to achieve an exceptionally pure hue of blue that is best seen under ultraviolet (UV) light, which gives it an otherworldly, radioactive glow. (Without UV lighting, it has an unremarkable off-white appearance.) The key components of the futuristic blue are quantum dots: tiny semiconductor particles usually measuring no more than one millionth of an inch in size.”
Social media breaks, or “social media detox,” have become common ways for people to recalibrate their sense of reality and restore their own values. Is the solution here to forgo Netflix, Hulu, Roku, Amazon Prime, and other streaming services so we can get back to our normally functioning brains?
It’s writing craft, of course – and making sure to have two points of view. Author Zoje Stage: “A lot of the tension in the book comes from the dual perspective of seeing how these two characters interpret the same event differently, which makes people question if one of them is more right than the other.” And then there’s the “European cinema” house setting …
Hollein is still optimistic about not being the CEO, but will that last?
Philadelphia seems to be finding out: “Justice for non-binary people is about naming and acknowledging that we exist in rehearsal, performance, and audience spaces. It’s about creating braver spaces amidst verbal and physical harassment on the street as well as in respectable, progressive establishments. It’s about training companies to understand and respect the non-binary experience before they invite us into the room. It’s about paying non-binary folks for their emotional and intellectual labor when we’re asked for dramaturgical help in a creative process. It’s about theatres doing their own research before expecting non-binary folks to educate them.”
A night at the theater can mean everything from parking and dinner, to elbow room in the lobby and in the seats, all on top of the price of a ticket. The city’s entertainment czars know this; that’s what drove the remarkable expansion of theater after theater a decade ago, with boosted capacities and bigger lobbies. Even now, more money is being raised to convert comparatively new complexes into more fully rounded destinations.
Privately owned, the company has moved deliberately, while publicly traded competitors like HarperCollins (which is owned by News Corp) and Simon & Schuster (CBS) have had to fend off pressures from shareholders. It has not used its gargantuan size—it controls more than half of the traditional literary marketplace according to many estimates—to take back territory from Amazon. Instead, it has focused on building equity and ensuring that it publishes the next generation of bestsellers.
Pope Francis has authorized an investigation into “possible financial irregularities” within the Sistine Chapel Choir, Reuters reports.
“The reform is called the Copyright Directive and it was first proposed in 2016. On Wednesday, members of European Parliament voted 438-226 in favor of adopting the directive. The law is meant to be an overhaul of copyright rules, aimed at making sure publishers and artists are compensated by platforms like Google or Facebook. … The controversial directive contains two articles” — known as the “link tax” and the “upload filter” — “that open internet and free speech advocates believe could fundamentally alter the way the internet works. Here’s what they mean.”
The accusations have caught the caught the attention of law enforcement authorities. The F.B.I. sent an agent to Vinalhaven in May to review the accusations surrounding Mr. Indiana. The Maine Attorney General’s office has said it is monitoring the probate proceedings because Mr. Indiana’s will left the assets of his estate to a charitable organization, a nonprofit corporation known as the Star of Hope Foundation.
Touring is always in some sort of crisis. And currently it’s at the mid-scale, as highlighted by ACE’s Analysis of Theatre in England report in 2016. Venues say there is a dearth of shows, while producers say there’s not enough demand to make them. Meanwhile historic mid-scale audiences are ebbing away, undernourished, making the whole thing even less viable. It’s a catch-22. At conferences, roundtables and gatherings we lament, in hushed tones, the unsolvable conundrum of the mid-scale.
By the 21st century, loneliness has become ubiquitous. Commentators call it ‘an epidemic’, a condition akin to ‘leprosy’, and a ‘silent plague’ of civilisation. In 2018, the United Kingdom went so far as to appoint a Minister for Loneliness. Yet loneliness is not a universal condition; nor is it a purely visceral, internal experience. It is less a single emotion and more a complex cluster of feelings, composed of anger, grief, fear, anxiety, sadness and shame.
“In this installment of our ‘Annals of Obsession’ video series, we dive into the history and validity of personality assessments, from the less-known measures used by psychologists to … the ever-popular Myers-Briggs, created by a mother-daughter duo without any experimental training. Do these measures … tell us anything real about ourselves? And what is it about the human mind that leads us to keep seeking them out, in era after era and society after society, endlessly striving to organize the people around us into ‘types’ that may, or so we hope, help explain them all?” (video)
When first profiled in The Seattle Times in 2014, he told about when he was 7 or 8 years old and went to the downtown Seattle shop of his father, also a typewriter repairman. The son helped by changing ribbons and cleaning machines. And so Mr. Montgomery ended up repairing the machines in Bushy Park in London. That was right where Gen. Dwight D. Eisenhower was stationed as supreme commander of the Allied Expeditionary Force…
“It’s understandable to experience feelings of shock, fear and even abandonment if your director leaves. It’s not just that you’ll have a new boss — a shift at the top can have a domino effect on casting, programming, rehearsal structure and branding. Here’s how to forge a relationship with your new director and take advantage of the opportunities that come from having fresh eyes on your dancing.”
I have served as Chairperson and panelist for countless composer competitions and residencies over the course of the past twenty years. I have yet to witness any winner be selected because of a resumé stuffed with Important Sounding Awards. Not one. When the panelists and I looked at someone’s attached C.V., it was often just a passing glance. The composers who received these juried opportunities were selected because of one marvelous thing: the excellence and creativity of their music. Imagine that. And keep it in mind.
“As a prolific social critic covering topics from AIDS to American interventionism, Susan Sontag seemed almost fated to run afoul of the Bureau. Although her association with the ‘New Left’ of the 1960s first put her on the FBI’s radar, it was her writing in opposition to the Vietnam war that earned her her own investigation and the personal attention of no less than Director J. Edgar Hoover.”
Naomi Campbell (a Torontonian not to be confused with the supermodel) has been a staff producer at the festival since 2011 and was appointed deputy artistic director last year. She succeeds Josephine Ridge, who stepped down in July over concerns about Luminato’s business model and rapidly shrinking budget.
In late July, after the first allegations of Moonves’s sexual misconduct became public, a solid majority of the board backed him. (One member said in a meeting, “I don’t care if 30 more women come forward and allege this kind of stuff. Les is our leader and it wouldn’t change my opinion of him.”) A month later, they were ready to fire him for cause. James B. Stewart reports on how the turnaround happened.
The relic — a piece of stone marked with a hashtag-type design in red ochre, discovered in an oceanside cave between Cape Town and Port Elizabeth — is roughly 30,000 years older than the oldest previously-known drawings, which were found in Spain and Indonesia.
A troupe from Berlin’s Schaubühne was giving the first performance of a three-night run at The Egg in Beijing when one scene moved some audience members to shout out critical remarks about the Chinese government. Censors told the performers to remove that scene or have the tour cancelled, and they did; even so, the theater at the tour’s next destination, Nanjing, has suddenly experienced “technical difficulties.”
To complement its more conventional WhatsOnStage Awards, the publication’s new WhatsOffStage Awards will have categories for best box office, stage door, theatre website, front-of-house staff, and so on.
“A breezy, sunny week in Buenos Aires ushered in the inaugural initiative for Art Basel Cities, one of the latest endeavors from the eponymous art fair powerhouse. … Working essentially as long-term consultants for Buenos Aires, Art Basel hopes to strengthen the local cultural scene and create more global awareness of the city’s cultural offerings.”
The report paints a generally positive picture for the arts in America. Attendance at both visual and performing arts events is up significantly over the past five years, although it has yet to climb back to 2002 levels. In the 2017 survey, 43.4 percent of American adults—nearly 107 million people—reported they attended a live arts performance during the previous 12 months. That’s up significantly from 40.2 percent in 2012.
Max Hollein, the Met’s new director, who spoke confidently and compellingly during our informal NYC lunches while he was directing three Frankfurt museums, twice surprised me in the space of one week with his uneasy, hesitant delivery during introductory remarks …
The idea is that the Pergola on the River, as it would be called, would be in place for three years. It would then be removed and the arts centre would go ahead with a long-held ambition to use the roof for open-air performances. But the Twentieth Century Society, a conservation group, said it was shocked by the proposals and would be objecting in the strongest terms.
The contrast with the prestigious art fair even a decade ago was striking, with only 61 exhibitors this year, two thirds of them French. On Monday, the First Lady Brigitte Macron toured the stands for three hours, perhaps a salve for the dealers. But no significant historical work or masterpiece was unveiled.
“We’re not paid to be soothsayers; we’re paid to give our honest opinions on a particular time and day, based on our own long experience of writing about and loving theatre.” But “the new age of social media now means more than ever that critics are increasingly a reduced part of the equation.”