Today’s Pop Music Charts: Completely Transformed (And Largely Without Women Artists)

“The spots on the Hot 100 that aren’t occupied by rappers, DJs, or Imagine Dragons largely belong to interchangeable young men playing R&B for campfires: Ed Sheeran and Justin Bieber of course, but also Charlie Puth, Shawn Mendes, and the second wave of One Direction solo efforts—Liam Payne, Niall Horan, Louis Tomlinson. The pose they strike is of the nice-guy seducer, the suave but puppy-eyed everyboy. It’s true that Cardi B and Taylor Swift have broken through lately with brash, campy cries of war. But it remains to be seen whether their success remains an outlier in an era when pop’s women have often needed to quiet down in order to be heard at all.”

A New E-Book Format Designed To Be Read In Web Browser

The platform, designed by the New York studio HAWRAF, “lets users play around with font, text size, line spacing, and background color.” (There’s also a text-to-speech function and a mode with a typeface specially for people with dyslexia.) “When you click on the footnotes, located in tiny typography to the right of the main text, they overtake the main text so you can get a closer look. … A ‘focus mode’ blacks out most of the browser, keeping your wandering eyes from getting distracted.”

The Most Popular Theatre In Glasgow Serves Meat Pies And Beer (And No, It’s Not Playing ‘Sweeney Todd’)

“Scarcely past midday on a Monday lunchtime, a full 45 minutes before curtain up, the queue for the box office is already snaking on to the road. Inside Òran Mór, a spacious pub-cum-performance venue in Glasgow’s West End, the line of ticket holders is even longer. They are here for A Play, a Pie and a Pint, a lunchtime series launched by David MacLennan in 2004 and not so much a success as a phenomenon.”

How A Major Studio Acts: Amazon Makes Movies. Now It Will Also Distribute Them

Instead of burning down the customary system of releasing movies, Amazon is ready to become a full-fledged studio, equipped to handle every step in the life span of the films it creates and acquires. In the past, Amazon partnered with the likes of indie distributors Roadside Attractions, Bleecker Street and Lionsgate to support the rollout of its movies in theaters. But starting with Woody Allen’s “Wonder Wheel” in December, Amazon will begin distributing its own films and overseeing all parts of their theatrical campaigns.

The Rapid Decline Of Americans Who Like To Cook (What’s That About?)

Although many people don’t realize it yet, grocery shopping and cooking are in a long-term decline. They are shifting from a mass category, based on a daily activity, to a niche activity that a few people do only some of the time. Only 10% of consumers now love to cook, while 45% hate it and 45% are lukewarm about it. That means that the percentage of Americans who really love to cook has dropped by about one-third in a fairly short period of time.

Theatre Talkbacks – Popular With Audiences, Not Always With Playwrights

“For theaters, the talkback can connect the venue to its audience, deepen understanding of the work and make the audience feel more like a participant and not merely an observer. Skeptics, however, fear that talkbacks can oversimplify the art onstage or discourage personal interpretation — the stage equivalent of didactic wall text telling museum visitors what to think about a painting.”

The BBC’s Drama Programming Is Built On The Back Of Theatre, So It Should Damn Well Provide Decent Theatre Coverage

Lyn Gardner: “At a time when newspapers are facing financial disaster and theatre coverage is one of the first casualties, the BBC should step up to the plate in a way it has neglected in the past. … If Radio 5 Live can have sports news every half-hour, why can’t it have a few minutes of arts news too? Just as many people would be interested to know about the casting of Follies or National Theatre Wales’ plans to make a show about the NHS as would want to know who is in the England cricket team.”

Our Music Might Have Become Post-Genre. But Listeners?

Post-genre thinking seeks to move away from objective methods of characterizing music, instead focusing on a more subjective method within which music is viewed piece by piece with an emphasis on the intention and background of the composer. If a composer has no intent of writing within the “classical” genre label, then attempting to understand the piece through a classical lens is irrelevant. But what about the listener? There is no doubt that all listeners have pre-existing connotations surrounding certain types of sounds. Realistically, because we have discussed music in terms of these genre constructions for so long, a listener’s experience is likely to naturally include elements of: “This moment in this piece of music reminds me of X genre, which makes me think of Y connotation.”