The Story Of A Child Prodigy Who Found Her Perfect Violin, And Then Had It Stolen

Min Kym: “I didn’t know who I was anymore, and I didn’t know what to do with myself. I felt as though I was just a sort of shell of a person. … You know, when it’s a human relationship, it’s something that everybody can relate to and understand. But I think as a violinist, as a musician, as an artist, when you know the relationship that you have with your particular art, it’s something that lives inside you and has a life of its own.”

Smaller Arts Groups In New York Are Hoping For A Larger Slice Of The City’s Cultural Budget

It’s worrisome for large organizations like the Met Museum and all of the residents of Lincoln Center – but the boroughs are excited: “Mayor Bill de Blasio and his lieutenants are deep into a re-examination of the city’s $178 million arts budget and other cultural resources to try to give a higher profile — and perhaps more taxpayer money — to smaller institutions in disadvantaged neighborhoods.”

We Can (Maybe) End Discrimination With This One Weird Trick

In a single two-hour workshop, “Devine and Cox offered ideas for substitute habits. Observe your own stereotypes and replace them, Cox said. Look for situational reasons for a person’s behavior, rather than stereotypes about that person’s group. Seek out people who belong to groups unlike your own. Devine paced among the desks, making eye contact with each student. ‘I submit to you,’ she said, her voice steady with conviction, ‘that prejudice is a habit that can be broken.'”

How Do Celebrities, And Studios, Get Hacked? Blame Smart Hackers, And Careless Vendors

Here’s the issue: “While they may not be able to break into a Universal Studios or a Netflix directly, [cybercriminals] have learned that the highest-profile targets are supported by a system of soft targets — content collaborators, remixers, postproduction studios and others — that do not have the same resources, security technology or sense of paranoia. And the hackers have started capitalizing.”

Touring A Large Ballet Company Means Juggling A Whole Lot Of Tutus, Pointe Shoes, And Washing Machines

When Birmingham Royal Ballet tours David Bintley’s “Cinderella,” for instance, says the company manager, they “transport the set, costume, props and lighting up and down the country, including 1,000 hair pins, 250 hair rollers, 78 wigs, 44 tutus, eight baskets of shoes, two washing machines plus [his] touring office.”