Tag: 10.17.19

Meet The Newest Head Writer At ‘Jeopardy!’

Way back in the ’90s, Michele Loud applied to be a researcher for the show just a few weeks after she flunked the test to be a contestant; a year later, out of the blue, they called her in. Twenty-six years on, she’s now one of two staffers running the writers’ room. Here she explains how categories get chosen and clues get written as well as the extra jobs each staffer has during taping. – Vulture

San Francisco To Make Its Busiest Street Car-Free

“It can’t be overlooked that San Francisco has some heavyweight car-free peers. Once, pedestrianized urban cores were largely the domain of enlightened mid-sized cities in northern Europe. But now Paris and Barcelona have expanded the concept, and Toronto is mulling a car blockade for multiple downtown corridors. London charges a pricy fee for vehicles entering its busy streets, and New York City will follow with its own congestion pricing scheme in 2021.” – CityLab

Glass Blowing Generates Significant Amounts Of Greenhouse Gasses. What To Do?

While the glass art industry blows oxygen and life into intricate glass chandeliers, vases, bowls and complex sculptures, it also consumes hefty amounts of natural gas and propane while filling the air literally with tons of carbon dioxide. Other issues, like heavy metal pollution and low levels of recycling, add to the industry’s sustainability concerns. – Crosscut

Freelance Journalists In California Freak Out That New Uber Law Would Apply To Them

If a freelance journalist writes for a magazine, newspaper or other entity whose central mission is to disseminate the news, the law says, that journalist is capped at writing 35 “submissions” per year per “putative employer.” At a time when paid freelance stories can be written for a low end of $25 and high end of $1 per word, some meet that cap in a month just to make end’s meet. – The Hollywood Reporter

Viet Thanh Nguyen Talks About Writing, Social Movements, And The American Dream

Nguyen, author of The Sympathizer, says that he decided not to worry about what the audience thought, or more specifically thought of Asian Americans. “I had to stop caring. Because even as conditions of narrative scarcity were true, which they are, I don’t think a writer can allow herself or himself to be shaped by those conditions. … For example, the anxiety that because there are so few stories about us, we have to write our stories to make our own community look good, whatever that community is.” – The Millions

Theatre’s Front Of House Workers Can Too Easily Get Trapped In Service Roles

The hours are good, the patrons can be terrible, the dreams live … for a while. “A lot of actors, directors and writers work front of house, with most of us spending our days auditioning, writing and on other creative endeavours. FOH is a stepping stone and it fits in with the hours, so we can go from the side of the stage selling ice creams or Aperol Spritzes to on stage performing. But many of us are struggling. We feel stuck.” – The Stage (UK)

The Baltimore Symphony Orchestra Needs More Than A Plan To Stay Afloat

A consultant tells the BSO that it needs a “vision” in order to deal with the debt and the uncertain future. The consultant said that “the BSO should be building a blueprint for the next seven to 10 years. In Detroit, where the orchestra had ‘zero liquidity’ and went through a months-long strike nearly a decade ago, articulating a long-term plan encouraged donors to commit new funds, he said.” – Baltimore Business Journal