Anyone who wants to learn about choreography for competitive skating programs should take a look at this excellent video, put together by American Ice Theatre. It uses examples from programs at the recent US national championships to demonstrate what a well-choreographed program includes, and what the judges are likely to be looking at in the choreography when they score a program. Thanks, AIT!
The best five minutes of television in 2013 happened on August 7, when The Colbert Report aired a video of Stephen Colbert and “friends” dancing to Daft Punk’s song Get Lucky. Daft Punk had originally been scheduled to appear on the show in person – but they were also booked for the MTV Video Music Awards a few days later, and because of that MTV insisted that they not appear on Colbert’s show. So when Daft Punk cancelled, the video was quickly created to fill the sudden gap in the show’s schedule.
Because the video clearly involved considerable planning and effort, there was some skepticism after the broadcast about whether Colbert had actually made the video a few days earlier and then made up the cancellation story to get more attention for the video. In this podcast, hosted by comedian Paul Mecurio, Colbert gives a very thorough explanation of how the video came to be – which, as it turns out, is a rather complex story, involving what Daft Punk was and wasn’t willing to do, clashing corporate interests, and a lot of quick changes of strategy.
What struck me most about this interview (more…)
Over the past two weeks, the international competitive ice skating season has started, with the Skate America competition in Detroit and the Skate Canada competition in Saint John. In most countries, the local and regional competitions leading to national championships are also underway – and all these events are more intensely competitive than usual because of the upcoming 2014 Olympic Winter Games in Sochi, Russia. But I’m going to talk about a part of skating that sadly disappeared from (more…)
Earlier this week I spent an afternoon reading trashy celebrity gossip magazines (give me a break, it’s summer). I learned way, way more than I ever needed to know about the antics of the Teen Moms, the possibly jail-bound Real Housewife, the sexting politician, and the Kardashians – and all that useless information about people I don’t even know made me think of one of my recent favourite music videos: (more…)
Randall Sullivan’s Untouchable: The Strange Life and Tragic Death of Michael Jackson was released in November of last year. It’s an epic piece of work – 776 pages long, including nearly 175 pages of references – and it got some less-than-positive reviews, including the New York Times, which called it “dreary”, “bloated”, and “thoroughly dispensable”. I just finished reading it, and I think it deserves much more credit than that, because it’s a remarkable work on several levels. Sullivan has constructed an extremely complex narrative that is more than a biography – it’s also a very sobering look at how the music business operates. And it’s an excellent case study in how writers can manage challenging or difficult source material.
I get the sense that (more…)
Next to Kate Bush, my favourite musical act is Crowded House. I own pretty much every recording they’ve ever released, and I’ve seen them in concert nine times over 23 years. I’ve seen them play in a very wet outdoor amphitheatre, where I had to huddle from the rain under a black plastic garbage bag, and I’ve seen them play in a convention centre ballroom, where I was so weak from food poisoning that I had to lean against a wall for almost the entire show. (In case you’re wondering why I didn’t just go home, I had used frequent flyer points to travel to that show and wouldn’t have missed it for anything.)
The purpose of this post, other than (more…)
Union membership numbers have declined for a lot of occupations over the past century. But, despite major technological change in their industries, performing arts unions have maintained their presence as strong advocates for the workplace interests of performers, writers, and technicians. The Museum of the City of New York has written a wonderful post, with fascinating pictures, to mark the 100th anniversary of the founding of the Actors’ Equity Association.
Look at the cast list in any theater program across the country and you will see a small * beside a performer’s name leading to a footnote indicating the performer belongs to the Actors’ Equity Association. Peruse the program bios for these same starred performers and you will often encounter the phrase “proud member of Actors’ Equity.” The union representing live theatrical performance turns 100 years old on Sunday. Rather than attempting 100 years of coverage in a single blog entry, this week’s posting will focus on just a few points of pride.
Actors’ Equity was founded on May 26, 1913 when 112 theatrical actors met at the Pabst Grand Circle Hotel in New York City.
Six months before this meeting the Actors’ Society of America, a previous attempt at organizing a labor union for theatrical actors, dissolved, due in large part to the fact that the Actors’…
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