A costly experiment? Surely, since box office revenue in these spaces is small relative to cost of production. Without philanthropic support, the project would be untenable. What Opera Philadelphia is discovering is that there are donors particularly anxious to invest in the future
Hm. Not that well. “While there have been conversations behind closed doors about certain gatekeepers … there hasn’t been a tipping point like what’s happened in Hollywood with Weinstein. As one singer told Rolling Stone during an investigation that looked at harassment in country radio, ‘Nashville is a town of subtleties. Everything is covered by a friendly gauze.'”
Some candor, some mistakes, some crossover. “As he’s helped to wash away artificial divides between jazz and other contemporary black music, Mr. Glasper has spoken with a casual candor not typical of jazz musicians. ‘If you ever heard Miles Davis talk, I’m no different than Miles,’ Mr. Glasper said, sipping a cocktail in his Blue Note dressing room earlier this month. ‘His freedom in talking about where he is in the music and what he’s trying to do.'”
The journalist, before interviewing the song’s writer: “If the song is so paper-thin, why can’t I stop singing it under my breath? And why has the internet been moved to slap ‘Why Did You Do That?’ on top of videos of dancing robots and gyrating Pokemon? Is the song, with its xylophone intro and unpretentious pop charm, actually a stealth treasure?”
Saskatoon is cold, and the office was near a bus stop, before a man entered the office and stabbed the executive director in the eye with the blunt end of a fork. “As an arts organization, we’re really open to the public and we want people to be able to interact with us in all ways. … We want people to come in and warm up if they’re standing out in the cold when it’s -40 C and -50, and with our windows, you can see the bus coming so it is kind of the perfect warm-up spot.” Not anymore.
Kubrick never paid Gerald Fried (or apparently many others) for their first film. “He thought the very fact that my doing the music to his early movies got me into the profession was enough payment. We had an agreement – not in writing – [that] we would work for nothing but, as soon as the movie got sold, he would pay us. Well, he didn’t.”
How does the station Bravo keep people addicted to its reality TV shows? A composer says that he and others make the station sound like candy: “midcentury spy film vibraphones. Tchaikovskian pizzicato — that is, finger-plucked — violin strings. The melodious wooden tock-tock-tock of a struck marimba. Egg shakers. Cymbals which, when struck in succession, vibrate with an ephemeral sound halfway between a wish and a sparkle.”
The status of the cover song has shape-shifted throughout pop-music history. Well into the 1950s, it barely even needed a name: It was just the routine way of doing business. During the rock era, covers became suspect as inauthentic, the stuff of the hack bar band, unless an artist “made the song their own.” With the rise of hip-hop, covers were displaced by sampling and remixes, but then samples themselves became more concealed and layered, for reasons of both art and copyright. In the 2000s and earlier this decade, the practice migrated to YouTube, where concert clips or home videos of one-off covers, rearrangements, and parodies might show off the skills and wit of amateurs and pros alike but still seldom troubled the charts—unless they also made it to soundtracks or TV ads, where acoustic remakes of once-upon-a-time hits (either twee or glum or both) have become a staple.