Tuesday, November 18, 2014

Who Knew?

Well, that got a lot of attention - I guess my Klout number ought to go up.


Sunday, November 16, 2014

Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time...

OSHA Cites Ringling Bros. and Barnum & Bailey in Circus Fall

PLSN: A "Hair Hang Act" performance during a Ringling Bros. and Barnum & Bailey Circus show here on May 4 took a disastrous turn when the apparatus the performers were hanging from suddenly fell to the ground. An investigation by the U.S. Department of Labor's Occupational Safety and Health Administration determined the incident occurred because the carabiner used to support the performers failed from being improperly loaded. The failure resulted in the eight employees performing the act falling more than 15 feet to the ground and sustaining serious injuries. A ninth employee, working on the ground, was struck by falling employees.


Part Five: Did I Make the Right Choice?

SoundGirls: Did I make the right choice to return live sound?! I have contemplated for a very long time. Did I still had the energy that it takes? Was I strong enough, mentally and physically? Could I deal with my insecurity? Would anybody give me a job? I knew this would turn my life upside down.

I had a few months to review my decision and while at first I felt that I had made the wrong decision, as time went by I felt that I had to at least give it a try. During the summer I started to tell friends, colleagues, and former co-workers of my decision to return to concert production and they all welcomed me back and offered encouragement and support.


Why The Next "Best Actor" Oscar Could End Up Going To A Team

io9.com: Part of the mystique of the Oscars for best actor and actress is their singularity: Just one person gets each award every year. But, an interesting new development has the potential to turn that notion on its head, opening the door for a whole team, not just one person, to snag the nod.


Employee Protection: The Hierarchy of Controls

Occupational Health & Safety: "Hello, Barry. I have another question for you," said Jerry Laws, editor of Occupational Health & Safety magazine.

"Hello to you, too," I said. "What can I do for you?"

Jerry explained that he was talking to a group of students, and one said that giving an employee a respirator was the best way to protect them from a chemical hazard. He said he remembered my telling him something about controls and employee protection, but he could not remember what it was. What should he tell the student?


Is Neclumi the Future of Jewelry?

Design Milk: I’m a big jewelry nerd so when I spotted Neclumi (thanks to Gregory!) I fell in love. Could it be the future of jewelry? I’m not sure… but I’m excited to see where it goes.

Created by the people at Pangenerator, Neclumi is a projected, interactive necklace.

Thursday, November 13, 2014

Tuesday, November 11, 2014

Vote for Comment of the Week

Voting ends Friday, noonish...

Student #1 has left a new comment on your post "Video: Moments Before Sarah Jones’ Death Captured":

I really have to agree with Henry on his take from this article, specifically the importance of management in art. Maybe it was due to arrogance, or the determination to get that shot, or plain idiocy (or likely a combination of those factors) but the circumstances for this senseless tragedy were all created because there was nobody there actively thinking about the danger of the situation. According to the article many could sense that something was off about that day of shooting, and the only plan that existed to get out of the way of a train would be to run out of the way in under a minute. This lack of planing and blatant disregard for safety is what comes from a poorly managed production crew.

Now I can understand how the Producer/Director argues that it isn't his job to personally make sure everyone is safe every moment of the shoot, but as the producer it is damn sure his job to make sure that there is someone who is there who's job is exclusively safety. He had received a letter from CSX that morning about how they regretfully couldn't give him permission to shoot on the tracks, and he blatantly ignored that letter, apparently blinded by his goals as a director. I truly understand the compulsion as an artist to be willing to do something dumb for the sake of art and I honestly believe he would have made a different decision if he had a glimpse into the possible outcome of that choice, but because there was no dedicated manager of the situation the lapse in judgement of this one person ended with a senseless death. The take away from this is to always be thinking about what you're doing, why you're doing it, and the potential consequences of the doing what you are about to do.

My thought's are with victims of this unfortunate circumstance.
Student #2 has left a new comment on your post "This Is The Most Recognizable Pop Song Ever":
The part I was most interested in this article is when it talks about why these songs are so popular. It speaks to the fact that the songs are repetitious. The secret formula the author is referring to is something known as "stomp & swerve". The stomp is the drive of the song, what brings you in and sets you up for the rest. It dates back to the times of John Phillip Sousa and the rise of the march band. Represented in the songs on this list by a heavy kick drum or a strong synth bass-line, it sets a steady foundation for the entire song. Swerve, is what sets the song apart from the rest. It's the extra oomph that gives the song something almost sharp, yet sharp enough to stick in your ear. Examples here are: The heavy first down beat on the guitar strum on Eye of the Tiger. The triplet on just before the fourth beat of the synth line in Mambo No. 5. It's the meeting of these two musical components that bring the song to live and make it exciting and hot. The constant drive of Roy Orbison's kick drum interrupted by a wavering and faltering guitar riff. Micheal Jackson's guitar arpeggio rises at a constant beat and is punctuated by a sudden drop in key and downward tone. Most impressive is Whitney Houston use of the formula. The stomp is not there, but the listener can feel it. It's Houston's silky, flowing waves of vocal harmony that rebel and break the rules of a beat that isn't even there. It's in 4/4 time, but there's no tempo, just rebellion. So in truth, it's the song's use of the stomp & swerve formula that made them great to begin with, it's what made them popular and so easily recognizable. The great thing about this phenomenon though, is that the meaning of the words don't really affect the success of it, which explains why some of these songs became popular, but are not recognized as the "best" songs of all time.
Student #3 has left a new comment on your post "All The World’s A Stage… But Does It Need Sound Re...":
As a sound designer I have to agree with Sean. There is no NEED for sound reinforcement however there are times where I understand the desire to include it in the design. I think when done well sound reinforcement is something that can really add to the feel of a straight play. Most notably when utilizing microphones you can add effects to the voice that cannot be done otherwise. Granted you could always just record the voice with the effect that you want and have the actor mime the words, but there's so much that could go wrong with that. Despite these effects I still have to agree with Sean. Too many times I find actors get into the habit of speaking softer because they think that the mics will do the projecting for them. They could not be more wrong. It is very hard for an engineer a mix the show if they're not given any signal to work with. It is exactly this that will often cause the dialogue to sound like it is coming out of the speakers. If mixed right you can make the sound seem like it is coming from the actors rather than the speakers. Another common problem that I notice that is more annoying is improperly mixed surround sound. One thing I can't stand is going to a show and hearing the actors voices coming from behind me. That really takes me out of the show, more so than hearing the PA over the actors. Point is, the use of reinforcement can be beneficial in straight plays but more as a way of peppering in vocal affects and adding volume to quiet moments unlike a musical that requires the vocals to be heard over a band.
Student #4 has left a new comment on your post "25 Famous Women on Getting Older":
What an incredible article. I've always loved the concept of getting older and getting wrinkles and watching my hair turn grey. I wonder how I'll feel about it when I'm actually older.

For me, the best part of this article is how these women are so well known and saying such important things. Girls these days look up to people like Kate Upton who are the epitome of youth. And while I love that she's a little curvy and not the picture perfect typical image, I hope she takes aging as gracefully as these women have. It's important for people who are seen as idols for people to speak out about loving yourself in all your forms. This is something the entertainment industry has the opportunity to do more than anyone but doesn't often do enough. Some of the women in here are very transparent about how it feels to be a great beauty who is now aging, and I was surprised to hear Erica Jong's perspective about it being horrible. I think it's a great example of why we crave youth so much as a culture. However, I was struck by how honest that statement was and I really appreciated how honest she was about it. It's brave to admit when it's hard to like yourself as a celebrity too. Hopefully she starts to love her wrinkles and older qualities. 
Student #5 has left a new comment on your post "Time to join the rest of the world":
I'd love to read more by this author on this topic. I think often we do get into this box where we think that "Art" is confined to things like museums and theaters and great literature. We absolutely need these things (and we have to keep telling ourselves this, because otherwise we have no justification for our jobs), but we should also recognize how important and artistic other things are. Earlier today a group of us were talking about the shows that we watched when we were kids, and I realized that those shows are absolutely essential to our society. If you bring a kid to a museum once a month, they'll learn some cool things and maybe gain a real appreciation for classical art, but when it comes down to it it's the episodes of Spongebob and Pokemon they watch every day that really affects how they see the world and how they interact with our society. The writers of these silly shows have permanent effects on millions of kids, and what they do isn't so different from what we do. This isn't even a bad thing, it's just the way it is. Rather than sit in our cathedrals of Art, looking down at all the peasants who enjoy watching Vampire Diaries, while bemoaning the fact that we have low ticket sales to our 5th production of Romeo and Juliet, we could open our minds and recognize the artistic and cultural value of almost everything around us.

Sunday, November 09, 2014

Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time...

Video: Moments Before Sarah Jones’ Death Captured

Variety: An ABC News “20/20″ report on Friday included previously unseen footage of the final moments leading up to “Midnight Rider” camera assistant Sarah Jones’ tragic death in February.

The video comes from a camera that was inside the CSX locomotive that was speeding down the track before the accident. Two other crew members as well as film stars William Hurt and Wyatt Russell ran for their lives seconds before impact, but Jones wasn’t able to make it off the trestle safely.

Stream Yourself Some Culture: Globe Theater Offers New On-Demand Player for Shakespeare Productions

The Mary Sue: Back in the day, if you wanted to watch a Shakespeare play—or any work of Elizabethan-era theater, really—you had to schlep yourself over to a disgusting outdoor theater and, unless you could afford the exorbitant costs for seats. stand with a bunch of other plebes in a tightly packed standing-room-only gravel pit. But we live in the future now, where we can stream those plays directly into our eyeballs via magic screens! Isn’t life amazing?

Theatre In Black And White: Matt Lyle's The Boxer

Live Design: Director Kacie Smith was wary. Sure, she could stage a play without words, in the tradition of the black-and-white films of Charlie Chaplin and Buster Keaton. But seriously, was it even possible to stage a play with live actors in black and white?

We See the World Differently

sightlines.usitt.org: "Well there's an association for everything, isn't there?"

The number of times I hear that statement when I talk about USITT is amazing.

Representing a group of people, the majority of whom spend their lives trying not to be seen, presents a challenge. Our members "make it look easy" I am told. But when I point out the various jobs that must be done to make an event or show happen, the reaction is always a new understanding of all that our members do.

We see the world differently.

Portland Opera makes dramatic move to summer seasons beginning in 2016: 'We want to avoid death by 1,000 paper cuts'

OregonLive.com: Portland Opera is planning to undergo the biggest change in its 50-year history. Beginning in 2016, the company will perform its entire season in a compressed, 12-week summer period.

The change, revealed as the curtain is about to rise on Portland Opera's 50th season, is an attempt to stabilize the company after years of fluctuating finances. And it will affect all aspects of the organization, from audience experience to casting, marketing, production and budgets.

Wednesday, November 05, 2014

Vote for Comment of the Week

Voting ends Friday noonish...

Student #1 has left a new comment on your post "LA Agent to Producer: "I Don't Do Women Directors"...":

Bravo to Charles Gillibert (who didn't actually SAY THIS people!) for putting the anonymous agent on blast. This article completely lost all credibility however, with its last paragraph. "Just another piece of the sexism puzzle for women directors to keep in mind." Really? That isn't something for the directors themselves to "keep in mind", many of whom aren't making enough money to BEGIN to turn down a project on the basis of its artistic integrity or whatever bullshit this agent is using to justify his misogyny.
Sexism isn't some mystical puzzle made up of magic and unicorns and gender roles. It's pretty simple. Society believes that men are worth more than women by virtue of the fact that they are men. That is sexism. That is real. In what way are the artists whom society already feels are second class citizens equipped to fight statements like this by "keeping it in mind?" I guarantee it is already very much on the mind of any female professional in this industry who wants to write, direct or produce. This isn't some unicorn opinion that has just been discovered...
The novelty isn't that some people feel this way. it's that the movers and the shakers in the industry feel comfortable enough to SAY IT OUT LOUD, and then, a liberal-leaning magazine trying to celebrate its gender-equality stance has, consciously or no, played along with the trope by placing responsibility for change on the victims. If this is what our supporters look like, we have very far to go indeed in the journey to equality.
Student #2 has left a new comment on your post "The Show Must Go On: Working When Sick":
Isn't this what under-studies are for? At what point are you sick enough to bring in the under-study? I know we don't work with them here at school, but I think it's pretty standard to have an under-study for major roles in the professional world. The worst possible scenario when an actor gets sick is that they should continue to come to work and risk infecting the rest of the cast. One actor going down to the flu is one thing, the whole cast quite another. If I were a producer investing a lot of money in a show, I think I would have a "No Work When You're Sick" clause in all the contracts. In general I'd much rather an employee miss a few days of work than have the flu disrupting the capacity of the show, or office, or shop... So please, if you're feeling sick, don't come to school. You can miss a class or two.
Student #3 has left a new comment on your post "(Almost) Everything We Think About Managing Millen...":
I feel a little strange writing about this and also being a millennial, but I do agree with what this article has to say, and that we need different managing styles. My dad often hires people at his office and their ages vary greatly and sometimes they are 40+ years old and sometimes they have just graduated from college, or are still taking classes nearby at night. I remember him coming to me and asking what it was that I wanted out of an employer when I was in college because he was having a hard time with the younger employees he hired and the first thing I said is, are you including them? Are you telling them what you need out of them and what your expectations are? He hadn't thought about it that way at all. To him, he had worked with his grandfather his whole life as a young adult and he had used his knowledge of how his grandfather had treated him (he was a quiet guy and you just sort of knew that he expected what you did to be done right the first time) as an example for how he managed others. But the younger millennial generation doesn't want that. We want feedback. We didn't always work for our families and learn how to be an employee and we are spending more time in school and less time out in the workforce so we sometimes need an explanation of expectations for being an employee and we want them right away so that we don't spend too long thinking we know what we're doing only to be told we've been doing it wrong the whole time. It's hard to find a way to bridge that gap and I'm not saying it's always the best way to do it, but in my experience a lot of us need that sort thing and I, personally, think it's a great way to show your employees that you care about the work they're doing and you want them to know how to improve.
Student #4 has left a new comment on your post "Inside Rent The Runway's Secret Dry-Cleaning Empir...":

It is pretty crazy to find such an interesting article about stain removal, although it is something I have been known to get excited about. To begin with, the entire concept behind Rent The Runway is really awesome. Considering that these are the types of dresses a woman is likely to wear once or only a few times for special occasions, this seems like a great way to go about finding a dress. I looked at the website, and the prices are pretty reasonable considering what you might normally spend on a dress for a special occasion. It makes sense that the spotters would be so vital to this business, as the profit of each dress is dependent on how many times the company can rent it out. But I really never considered that there was this specialized industry of masters that exists within the dry cleaning world. The fact that there is an almost two-year training program offered by the company really accentuates what a serious trade stain removal can be. I wonder if there are fees for returning stained garments.
Student #5 has left a new comment on your post "Why Germany is so much better at training its work...":
I genuinely agree, however it’s apparent to me that we’re completely choosing to ignore the number of companies that employ interns in the U.S., and at the very least attempt to encourage something that resembles even a mediocre apprenticeship program, especially in the entertainment industry. While I both understand and agree that an internship is entirely different than the structure that the European-apprenticeship model promotes and executes efficiently. It is still a strong and reliable training and recruiting tool for a number of companies. But it’s totally different, because then there’s a different stigma to be overcome, the dreaded “intern” label. When you’re an intern it’s hard to escape that label, you’re seen more as menial labor, and often get stuck with shit jobs that don’t teach you as much as you would like to be learning. That’s not always the case, and I’ve certainly been in situations where I’ve been treated exactly the opposite, it depends on the company, it depends on the people you’re working with, it depends on the company, and most importantly it depends on how much you’re willing to put in. I’ve worked for more than one company as intern now that is known for a) hiring their own, and b) teaching up and recruiting thru their learning programs. PRG, Cirque, the Shakespeare Theatre in Washington, DC, TAIT Towers, Hudson Scenic, Disney…these are just a handful of companies that promote this idea and this culture in the entertainment industry. Now their programs aren’t perfect, and most of the internships are limited to the summers in between semesters, so they can’t provide the dual-training model that the European model does, but they do the best with what they can within the structure of American education. I agree that there is a way to better implement an apprenticeship program like that of Germany’s and that the U.S. should strongly consider doing so, but it’s going to be quite some time before that happens…

Sunday, November 02, 2014

Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time...

Chicks Rule

Systems Contractor News - November 2014 [28 - 29]



Cirque du Soleil looks to the cloud to transform HR

www.cirquefascination.com: Global dance company Cirque du Soleil has implemented cloud-based HR service SuccessFactors to help manage its staff as they travel around the world. Cirque du Soleil tours in more than 100 cities on a yearly basis – with the direct support of an employee group made up of artists, operations and management professionals from 50 different countries. The organisation said it was looking for a platform that offered both remote access and could handle the extremely complex realities of a global workforce, always on the move.

Gamergate is dead

The Verge: As an activist movement with the ability to inspire positive change, Gamergate is dead. Its constituents and its hashtag will remain — and I suspect will be, for sometime, as fierce, aggressive, and vocal — but these remainders represent a hate group and its banner, associated with bigotry and cruelty.

Gamergate died ironically from what it most wanted: mainstream exposure.

The Show Must Go On: Working When Sick

2AMt: The 2014-15 theatre season is underway, causing me, desperately, to try not to fret over photos of strangers in first table reads as they begin to train their instruments to say those words (repetitively) throughout the rehearsal process and within eight shows a week (plus student matinees). I see actors hunched in their seats around a table, script in front of them, and want to transport myself into the room and just “fix” things – not only because of the physical issues and their impact on vocal power and resonance I addressed in the post about The Impact of Technology on an Actor’s Body, but also because I know what happens to a body when the other shoe drops. You see, the theatre season for most companies coincides directly with cold and flu season.

How to Mic a Zombie

www.avnetwork.com: Zombies exist solely in the realm of fiction — or do they? Audio-Technica thinks it better to be safe than sorry. Surviving a zombie apocalypse relies on preparedness in every aspect of life. Yes, that includes microphone technique.

Tuesday, October 28, 2014

Vote for Comment of the Week

Voting closes Friday lunchtime...

Student #1 has left a new comment on your post "artist empowers people with disabilities through m...":

I love this concept of finding a means through which those handicapped can transcend their disability. Sure, the abstract art created by the balloon detention is not a direct representation of anything the artist was intentionally thinking, in fact the artist had little to no impact at all on the piece besides the choice of colors, but there is something beautiful in the simple idea that it was the handicapped individuals choice to think intently that sparked the work's creation. This concept helps us consider whether or not its fair to judge and validate art based on the originality and intrigue of its intention or is it better to only examine a piece only on the definition of the skills involved in its formation. 

Obviously the artists in the video had no capability to create the work we see due to physical constrictions, and even more evident is the fact that the abstractions probably had no resemblance to the thoughts the artists were thinking at the works' conception, but its interesting to consider: what is more essential to a work, its craft and form or the idea that ignites its creation? Before seeing this video if you ever asked me this question I'd say the craft is more important without a doubt, and that the artists ability to translate that work as a means of connection is essential as I've often seen that as the fundamental basis of art. After watching this I can more easily see why some might consider the intention the most significant part of a piece, as ones lack of ability to translate their ideas through skill doesn't at all mean that they have less beautiful thoughts, it only means that its more challenging for them to let them be known.

This transcendence of skill to create art through thought, is truly admirable, touching and beautiful. I think this Mind Generated Art is a grounding point for a stimulating conversation that is essential to the realm of art and design, but even if it never reaches that full potential, at the very least I think its a great way to create inspiring images and bring joy to those involved. 
Student #2 has left a new comment on your post "The Adventures of a Male-Bodied Transwoman in Dram...":
Firstly, I'd like to point out that there are so many issues simply with the title of this article. Calling someone "male-bodied" is problematic. "Assigned male at birth" is a better descriptive word. Saying that someone is male-bodied would mean intrinsically state that someone's body defines their gender and not their actual gender. Also, "transwoman" is no the proper terminology. Either put a hyphen between the two, or say that she is a transgender woman. Additionally, Zara, this is not a man, she is a woman (and referring to her as "he" is kind of completely missing the point of the article). It's frustrating that people can be "easily" accepted as gay (more easily than people of other orientations and gender identities), but as soon as someone wants to be called a different name or use different pronouns from what people would assume, they are attacked and people out-right refuse to acknowledge them as such. I'm so very glad that Bianca has found somewhere where she is happy and accepted and I hope more transgender and non-binary people are able to overcome the difficulties they face every day. 
Student #3 has left a new comment on your post "BFAMFAPhD":
I saw that at least one person wondered in the above comments about the 2% that ended up in medicine. As someone who switched from Biology to Design and Production, I can perhaps shed some light on that. With hindsight, I can now say that studying biology was actually a lot like creating a feasible, functioning project (be it shoe, or set). In my experience, biology at its most essential level is the study of how a variety of systems works together to produce an successful outcome, that is, a living organism. Biology and the creation of a successful production actually share very similar thought and analysis processes. Furthermore, the human element is a very unique thread that binds the two. Both theater and medicine create unique opportunities for human interaction, unlike many other occupations. Simultaneously personal and (hopefully) edifying, both career fields offer piercing insights into the human condition, be it physical or mental.

To put it succinctly, both medical professionals and those in theater arts are in the business of telling stories. Doctors tell the statistical, observable story of an individual, while those in the arts more often examine people in terms of each other and their emotional states. 
Student #4 has left a new comment on your post "Don’t Call it “AV Networking,” Call it Networking":
I disagree with almost everything this article has to say.

Let’s start with “Don’t call it AV Networking, Call it Networking.” Let’s talk about how an AV network is much more complex than a standard network. I have a degree in networking, but I don’t think I’d be qualified to set up an AV network. Let’s not short our talents. Being an expert at setting up an AV network is a much different skillset than being an expert at setting up a network at a financial institution. 

Let’s move on to the financial institution examply. The article says that financial institutions use networks to handle many billions of dollars of transactions per second, so getting a powerpoint to a screen should be no issue. Wrong. Getting a powerpoint to a screen, maybe, is easy enough. Getting multiple projects to reliably sync together, project on a screen, and sync up with the audio content of the production, all while remaining responsive to input is much more difficult that handling many billions of dollars of transactions a second. Maybe I’m putting too fine a point on this, but financial transactions are number. They are a double integer piece of data, immersive multimedia content is much more complex. Financial institutions also have server rooms that are likely the size of an entire theatre footprint, an AV system likely has a converted broom closet, so let’s not try to make the comparison between a banks transactions and a performances AV content.

The last line says that now is the time to start to absorb IT expertise into our industry. Sure IT expertise is important to the AV networking niche, but lets be careful to say imply that standard commercial IT experts can do the job that a specialized AV professional can do.
Student #5 has left a new comment on your post "Pricing Discrimination: Should Your Performing Art...":
This is an interesting analysis of a concept that i've thought about quite a bit in the past but never had the specific categories to pin each pricing strategy to.

I think, generally, that pricing discrimination is a really good thing. Obviously you wouldn't want to be paying the same price for every single seat in an arena for a huge concert. Those in the front row, who will mostly likely have a more pleasurable experience simply on the basis of the energy that the front row will have, should have pay more for that heightened experience. Theres also something interesting about this, because the price you pay for that front row ticket may also correlate to the drive you're going to have to keep up that high energy and get "pumped" for the concert/experience you're attending.

While I do think price discrimination is a good thing, there are certain tactics that Beussman explains that I definitely think would not be a good plan for any event to be enacting in their selling procedure. I would have to agree with the media's reaction to the Coca Cola vending machine scandal, and I think it points out something important about these selling tactics: they can be compared to symbiotic relationships in nature. For instance, the Coca Cola vending machine adjusted pricing only benefits Coca Cola, it doesn't really benefit the customer except for the fact that it provides the product that the customer expected in the first place. It could be described as having a commensalistic relationship with the customer. The other forms of pricing described by Beussman, however, describe a more mutualistic relationship. The customer pays for the experience that they would like to receive on the basis of how they want to experience it, and the company benefits from the increased number of people that will be more likely to purchase that experience because of the fact that they can pay for as much or as little as they want, which provides a far more customizable experience for the customer.

Sunday, October 26, 2014

Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time:

I Went to a Hatsune Miku Concert and It Was Fucking Amazing

jezebel.com​: On Saturday, I watched a not-particularly-realistic 2D projection of a teenaged girl in teal pigtails singing in a computer-generated voice mesmerize a concert hall packed with teens. For two hours. And it was actually pretty fucking amazing.
 


BFAMFAPhD

BFAMFAPhD Census Report: Of all arts graduates in the U.S., 18% work in sales and other office occupations, 17% are educators, 14% have not worked in the last five years, 11% work in various professional fields, 9% are managers, 8% make a living as artists, 8% work in service jobs, 5% work in various blue collar occupations, 4% are working in business and finance, 4% now work in science, technology or engineering, and 2% now work in medicine.


The Adventures of a Male-Bodied Transwoman in Drama School

HowlRound: I was six years old when the entire student body of Miss Murray’s Dance Academy was recruited for a local production of Gypsy. I wasn’t allowed to take ballet, but tap was okay for a boy—this was one of many compromises my parents would make over the years in their efforts to both foster my artistic growth and curb my effeminacy. I identified as female, but the world saw me differently.


USITT Working to Define Essential Skills

www.yourperformancepartners.com: Let’s say you’re a technical director at a regional theatre. You’re looking to fill an entry-level electrician position on your staff, and you receive two resumes from recent college graduates. Each of these resumes shows that the applicant has a theatre degree, and they’ve each had some hands-on experience as electricians for campus productions.
 






artist empowers people with disabilities through mind-generated paintings

www.designboom.com: chinese artist jody xiong has collaborated with 16 handicapped people — recruited via social media — in the artistic and technological realization of the ‘mind art’ installation. the project participants were asked to choose a winsor & newton paint color, which was placed in balloons equipped with tiny detonators. large canvas panels surrounded the balloons on all sides.

Monday, October 20, 2014

Vote For Comment of the Week

Voting ends Friday noonish...

Student #1 has left a new comment on your post "New GaffGun Simplifies Process Of Laying Gaffer’s ...":

May god shed his glory upon those who hath pulled this mighty sword out of the stone of cable management. Armed with this holy weapon, many a technician can tape down even the most wryly cables with ease. Though sold for a steep price on the open market, passing up any such investment should prove folly to those who are of the kind who regularly find themselves on all four hands and knees tasked with the excruciating burden of fastening communication lines to the floor. This excites me, as I know now that there is salvation from the hell of taping down cable. 
Student #2 has left a new comment on your post "‘Ten Commandments’ Sphinx Unearthed":
You know, you could make a movie out of this. It could be a post-apocalyptic comedy about a society of refugees that have found shelter in the wetlands of Central Florida (you know, if it's not an island or totally underwater by this point). 

They stumble upon the gates of of a lost kingdom full of large sanctuaries full of magnificent and fearsome creature frozen in time. In the middle of the kingdom is a castle, with a tall tower from which you can see in to the horizon. In the distance, the roaring of animals is heard, as if a multitude of different species of creatures have all escaped from their prisons and entered into a land of which they are definitely not indigenous to.

What kind of beings built this place? A society of mysterious people who fashioned vehicles in the form of giant drinkware and flying elephants and who appeared to have worshipped a mustachioed gentleman and his sidekick, some kind of mutated giant rodent. 
Student #3 has left a new comment on your post "Dear White People: Justin Simien Interview":
This is the movie I have been waiting my entire life for. Growing up I never saw anyone like me on TV. I would always have to try to relate to girls with naturally straight hair and always Caucasian. And if they dared put an African American as the main character they were always embodying some form of a disrespectful stereotype. I am biracial, half black and half white. I specify both because it frustrates me to no end that so often people completely ignore one side of me. And while to some that may not seem like its a big deal, but for me it's like saying half of what make me isn't good enough for you to acknowledge. And because of modern society I am forced to choose which side of me I want to associate with. Problem is there still is the underlying racism on both sides. To speak generally, when someone white looks at me they just seem me as a well behaved and non ghetto black girl. When someone black looks at me they see a black girl who probably has life so much easier because I am naturally lighter skinned than they and appear like I'm trying to act "white".
I'm hear to say I am a person. I am both black and white and I act like how I want to be treated, which is with respect. 
I'd like to think I don't see color, but in reality I make an effort to not let the color of people skin influence how I interact with someone. I strive to treat someone's physical characteristics or outer shell as nothing more than another bullet point on their identity profile in my head.
And that is what make this movie so great because it points out the covert racism that still exists today and we are getting the real views of what it means to be African American and part African American today. So yes I'm still longing for Martin Luther King's dream where people are not being judged by the color of their skin but rather the content of their character to come true because while we may have a black president (who is actually biracial) and no longer have segregated schools we still have a long way to go. 
Student #4 has left a new comment on your post "Backing Tracks: Enhancing The Live Sonic Presentat...":
It seems to me that whenever we (the public) find out that an artist uses backing tracks in their live performance we jump all over them criticizing them for not actually performing on stage for us. I was one of these people for a little while until I realized just what it takes to perform for 2 hours in a hot venue for over 10,000 people. After seeing this first hand I will never think negatively about this again. Now that's not to say that all bands and artists use backing tracks to run their whole show however it is necessary for them to be used at some points. On the other end there are backing tracks that my not necessarily be musical but add to the experience of the show. For example, this article mentions Roger Waters tour of The Wall. I had the opportunity to see this show twice when it came to New York (once at Madison Square Garden and once at Yankee Stadium) and noticed the insane surround effects of bombs dropping and troops marching. For this backing tracks are obviously necessary because for some reason I highly doubt that these events are happening through the playing of instruments. Like what most of the other commenters have said, there is no way we can expect to hear what we hear on record live if the use of backing tracks is eliminated. 
Student #5 has left a new comment on your post "Mike Rowe Explains Why Following Your Passion May ...":
Mike Rowe makes an important point and can be directly applied to theatre. Theatre and acting, directing etc, most certainly take a great deal of passion and creativity, and usually insanity, to pursue it as a career. Without those characteristics, many peoples acting careers would end after their first audition. 
Without a doubt, I will be turned away from more auditions than those I'd book, but passion for this art form is what keeps me coming back. It is what gets me to goo to the next audition and the next audition after that. 
I find myself agreeing with Rowe. "I don't see a shortage of people who are willing to dream big. I see people struggling because their reach has exceeded their grasp." This could not be more apparent than in the Unified auditions. I found that there were so many kids willing to kill to get into some of the BFA programs, but in reality, its mostly the same 100 or so kids who get into the top programs. Not even 100. The talent pool is small, but the "passion pool" is huge. 
Now, it is not my place to comment on someones talent, but I did find it interesting just how many parents were managing their children, in hopes of gaining access to a top conservatory, when their kid lacked ability, but this was their "Dream". 
In contrast, sometimes I find myself in need for some of those peoples passion. I become a little too comfortable. I start taking too much for granted.

"Passion is too important to be without, but too fickle to be guided by. Which is why I'm more inclined to say, 'Don’t Follow Your Passion, But Always Bring it With You.'"