The Philadelphia Orchestra may be having some money troubles, but they’re nothing compared to the trouble 9-year-old Aidan Milligan was in after someone took his trombone. So the orchestra is fixing Milligan’s problem.
Tag: 10.14.12
Theatre Should Shock Us – And We Need To Remember That
“Horrible things are supposed to be horrible, to jar and linger. We forget that, so accustomed are we to our easy, instant-gratification culture where, when trouble hits, the grief counselors are rushed in, the popular pills are prescribed, and we’re all expected to dance upon the fresh graves of our personal heartbreak.”
World-Record Jump Draws Millions Of Viewers – On YouTube
Sure, it was the highest, longest, and fastest skydive – but Felix Baumgartner’s death-defying leap broke another record: Most livestream viewers on YouTube, topping out at more than 8 million as he broke the sound barrier.
For Your Funeral: My Way, Or Some Monty Python?
Because, at least in the UK, you’re probably not going to want a hymn. And that Eric Idle song “Always Look on the Bright Side” gets a surprising amount of play.
A Tech Reporter Heads To The Frankfurt Book Fair
In short: E-books; traditional publishers love self-published winners; Amazon expands Kindle Lending Library (to iffy reactions); and in mobile news: Africa and China.
Remembering Georg Solti And His Drive For Peace
“Solti knew well that a World Orchestra for Peace, no matter how noble its intentions, could do little to make world peace a reality. But he was a musician, not a diplomat; he could contribute only through his music-making, and he viewed this orchestra as a symbol of how the world could change if the mentality of enough people could be turned around.”
The Choreographer And The Composer, And The Soviet Legacy
Choreographer Alexei Ratmansky explains what the music of Shostakovich means to him – and how he creates ballets for the composer’s sounds of humor and destruction.
Ping Chong’s Undesirable Elements
Over two decades, under the collective title “Undesirable Elements,” the veteran American theater artist and his company have put together what he describes as “seated opera of the spoken word.” Each original program features members of a marginalized group – Congolese refugees in Syracuse, Native Americans in Kansas, disabled people in New Mexico – telling their own stories in a theatrical setting.
Thomas Bradshaw Pushes Buttons Most Playwrights Wouldn’t Dare
His work “has been described as depicting ‘life with all the boring parts taken out.’ It might also be described as life with all the ghastly extremes – incest, pedophilia, rape, racially motivated murder – added back in, and depicted in a deadpan style that has prompted both big laughs and angry walkouts.” In a Q&A, he explains how and why.