Choosing Where, And How, To Succeed In Dance

“Being a ballerina of color in New York City has never been easy. In 2012, young minority women looking to make a career in this still very white art form face a daunting choice: Do they look to follow Misty Copeland, the lone African American dancer of rank at Manhattan’s two major companies? Or do they hold out hope that District native Virginia Johnson successfully revives Dance Theatre of Harlem, the historically black company slated to debut next year?”

Be A Clown – And Never Retire

Floyd “Creeky” Creekmore doesn’t give up. “At 95 years old, the former Montana rancher recently dubbed the oldest performing clown in the world has fewer magic tricks up his oversized sleeves than he once did. He gave up juggling several years ago after a stroke, and has long since parked the bicycle he once incorporated into his acts. But when the Shrine Circus comes through Billings, where Creekmore lives with his 96-year-old wife, Betty, Creeky the Clown returns to life.”

Critics Mock Kinkade – But Why Did His Work Matter So Much To So Many ?

Andrea Wolk “Rager defines Kinkade’s appeal as ‘the aesthetics of nostalgia.’ She notes that sociologists consider nostalgic longing a response to feeling uprooted or unmoored, while some psychologists link it to an unconscious desire to return to the womb. She contends that Kinkade’s images, with their soft light, rain-slicked streets, and general aura of gentle reassurance, speak to both of those primal pulls.”

Boys Choirs Suffer, Thanks To Early (And Ever Earlier) Puberty

“An unrelenting march of puberty sweeps voices into rebellion. Over recent decades, the already-short careers of their sopranos have started to end between six months and a year earlier, challenging them at times such as Easter, for which choral music such as J.S. Bach’s St. Matthew Passion was written with difficult lines for boys free of hormonal woes.”