Blog

Tamara Tchinarova, 98, Dancer With The Ballets Russes

“While she was still in her teens Tchinarova danced with companies that formed in Europe after the death of Diaghilev. She travelled with Ballets Russes de Monte Carlo, Les Ballets 1933, Colonel. W. de Basil’s Ballets Russes and finally to Australia in de Basil’s Monte Carlo Russian Ballet in 1936.” She settled there – and was married to actor Peter Finch when he was discovered by Laurence Olivier and Vivien Leigh (whose affair with Finch broke up his marriage to Tchinarova).

Top Posts From AJBlogs 09.11.17

Coming Soon: Ask A Curator Day
I’m not sure how I missed Ask A Curator Day in years past; I think it’s a splendid idea. Maybe because it seems to be publicized most ardently on Twitter, and I do not have … read more
AJBlog: Real Clear Arts Published 2017-09-11

The Red Shoes Are Not Tired
When Bourne’s stage version of The Red Shoes opened at Sadler’s Wells this past December, the review headlines appeared full of praise (I’ve averted my eyes from any spoiler details). … Will Bourne find a way to transmit the energy of the film’s dialogue and giant close-ups onstage? … read more
AJBlog: Fresh Pencil Published 2017-09-11

“The Difference Between Quality Art and Crap”
I was chatting with Vladimir Feltsman last Spring about PostClassical Ensemble’s 2017-18 immersion experience, “The Russian Experiment,” when the conversation took an unexpected turn. … read more
AJBlog: Unanswered Question Published 2017-09-10

Monday Recommendation: Hagans On Cassavetes
Tim Hagans, NDR Bigband, Faces Under The Influence: A Jazz Tribute to John Cassavetes, Waiting Moon Records. … read more
AJBlog: RiffTides Published 2017-09-11

 

For Musicians To Get Paid It Starts With Metadata (Finally A Plan)

That “information gap” refers to the data around who helped create a song. Publishers might keep track of who wrote the underlying composition of a song, or the session drummer on a recording, but that information doesn’t always show up in a digital file’s metadata. This disconnect between the person who composed a song, the person who recorded it, and the subsequent plays, has led to problems like writers and artists not getting paid for their work, and publishers suing streaming companies as they struggle to identify who is owed royalties. “It’s a simple question of attribution,” says Panay. “And payments follow attribution.” Over the last year, members of the OMI—almost 200 organizations in total—have worked to develop just that.

Cable Weather Coverage – Is The Windswept Reporter Really Necessary?

“The tradition of television crews standing in the middle of a dangerous storm goes back decades, reflecting the hunger to be on the scene for a nationally significant event. But the news value of dangerous stand-ups — in which a correspondent is seen in the field talking to the camera — is increasingly being questioned, particularly with the rise of social media.”

Sotheby’s Reveals How Much The Berkshire Museum Could Make Selling Its Art

“Sotheby’s announced the price estimates for the works. The Berkshire Museum holdings will be offered at auction starting November, and will continue through 2018. The museum has said it hopes to raise some $50 million from the sale. Leading the sale is a work by Norman Rockwell that has attracted the most ire of those protesting the move.”