Author: Douglas McLennan

Report Card Time: Here’s How Our Children Are Doing Studying Music And Art

The arts assessment measured students’ knowledge based on their ability to understand and interpret historical pieces of art and music. One question, for example, asked eighth graders to identify the instrument at the beginning of Gershwin’s “Rhapsody in Blue.” (It’s a clarinet.) The report also looked at their creative abilities. In one exercise, students were asked to draw a self-portrait, which was then scored for attention to detail, composition and use of materials.

Does Netflix Really Need Movie Theatres For Its Films?

“Since our members are funding these films, they should be the first to see them,” the company said. “But we are also open to supporting the large theater chains, such as AMC and Regal in the US, if they want to offer our films, such as our upcoming Will Smith film Bright, in theaters simultaneous to Netflix. Let consumers choose.” At first glance, this might seem like a reversal: Netflix is open to putting its movies in theaters! Theaters win! When you look at it more closely, though, it’s clear that nothing’s changed. “We are also open to supporting the large theater chains,” the company says, and it’s hard not to note that word choice; it doesn’t exactly suggest the kind of partnership with distributors that exhibitors would like to have.

New Theory: Hemingway Suffered From CTE, The Brain Trauma Injury That Football Players Suffer From

Hemingway’s bizarre behavior in his latter years (he rehearsed his death by gunshot in front of dinner guests, for example) has been blamed on iron deficiency, bipolar disorder, attention-seeking and any number of other problems. After researching the writer’s letters, books and hospital visits, Farah is convinced that Hemingway had dementia — made worse by alcoholism and other maladies, but dominated by CTE, the improper treatment of which likely hastened his death.

A Long-Lost Stravinsky Piece Resurfaces And On First Hearing Alex Ross Is Disappointed. But Then He Listens Again…

Like thousands of other Stravinsky fans, I listened to a live stream of the première, my anticipation heightened by descriptions that the composer had supplied later in life. (He called it “the best of my works before ‘The Firebird,’ and the most advanced in chromatic harmony.”) Like many others, I felt mild disappointment.

Was Robert Rauschenberg The Con Man Of Art?

There’s a volubility about Rauschenberg’s visual imagination that is irreconcilable with the discipline art demands. However monumental or panoramic a work of art may be, there must always be some acknowledgment of the limits of the artist’s vision. Rauschenberg didn’t know the meaning of the word “limits.” There was something of the outrageousness of a Ponzi scheme in the way he took this or that avant-garde idea and inflated it—over and over again.

Tony Contenders Talk About The State Of Musicals And Making Theatre Work n Broadway

The five “key creatives” for five shows up for best musical dish about the process. “The [studio-driven musical] is just a very different world. It’s a stable of people with properties that are trying to figure out what to do with them. Many of the ideas are very possible. And some of them are idiotic. I listen to what everyone here is saying about all the ideas they could come up with from scratch and think: ‘It must be lovely.’ It’s like I’m watching a zoo.”

Why Hollywood’s Pending Writers Strike Won’t Affect Animation Studios Like Pixar

When the screen cartoonists’ guild formed in the late 1930s, animated shows weren’t scripted and instead were drawn out on storyboards. Because that was considered part of the animation process itself, the writers were placed under the jurisdiction of the cartoonists’ guild, said Tom Sito, a USC film professor and former president of the Animation Guild, IATSE Local 839. That dynamic has more or less continued to this day, even though today’s cartoons involve plenty of scripting.

Uriel Luft, 84, Was Montreal’s “Indispensable” Dance Impressario

In the mid-70s, Luft was “hired as the director of dance programming, arts and culture for the Montreal Olympics. During the Games, he organized 100 dance performances in the city, bringing in performers from all across Canada. After the Olympics, Mr. Luft worked as the director of Quebec’s nine conservatories of music and drama and in 1978, he also co-founded the artists agency Specdici. At the agency, he was instrumental in promoting emerging dance companies, including La La La Human Steps, Les Ballets Jazz de Montréal and dancer-choreographer Margie Gillis, to an international audience.”