3 Ocak 2013 Perşembe

Pat's Notes from Broadway

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I just returned from New York where Broadway is the most important street in the city. I saw five productions in four days and was pleasantly surprised that I enjoyed everything I saw.  As a TONY award voter they expect us to see everything and without a doubt all that are nominated for an award.

Here are my notes about what I saw recently:
JESUS CHRIST SUPERSTAR – The music is the show and has always great. The story isn’t bad either but it always ends the same way, not good.  This production takes on a new high tech staging with a Wall Street ticker tape addition letting you know that you are Jerusalem on Wednesday as the story unfolds and on Thursday you are in the garden of Gethsemane. A novel approach but pushing the point.  And all of the bad guys are wearing long black leather coats and are sporting dreadlocks.
PETER AND THE STARCATCHER was the highlight of the five shows.  Had no idea what it was about and was blown away by the acting especially that of Christian Borle, from the TV show Smash, was fabulous.  Show moved so fast and dialog came at the audience at mach speed. I must see it again.
NEWSIES is a Disney musical and was much better than I thought it would be, since the movie was a flop.  I wasn’t expecting much but thought it far exceeded my pre-show bias. 
NICE WORK IF YOU CAN GET IT was excellent. Take Gershwin Brothers, insert a funny story with a fabulous female lead, Kelli OHara, add Mathew Broderick and it’s an enjoyable night at the theater.
Last but far from the least was GHOST, the musical adaptation of the movie with Patrick Swayze and Demi Moore. The reviews have not been spectacular but I really enjoyed the show and it's another high tech addition to Broadway. I really liked how they had people appear to walk through walls. The opening scene is a film of a  super fast tour over the buildings of Manhattan, sort of like Harry Potter goes for a night out sans the broom.
Going back to NYC on the 31st of May to see what I expect to be the  two TONY award shows one for the revival category – EVITA  and ONCE for best new musical. I think I’m saving the best for last. We’ll see. More later!
Pat HalloranPresident & CEOThe Orpheum Theatre

Inconceivable!... Rob Reiner's Fan Favorite Fairy Tale Celebrates Silver Anniversary & Makes Orpheum Summer Movie Premiere this Friday

To contact us Click HERE


Scale the cliffs ofinsanity, battle rodents of unusual size, face torture in the pit of despair,and join Princess Buttercup and Westley on their spell-binding journey to findtrue love when The Princess Bride makes its Orpheum Theatre summer moviedebut this Friday, July 20th. A classic fairy tale complete with heroes, villains,trickery, mockery and death-defying miracles,  The Princess Bride captures audiences young and old with its brilliant, memorable dialogue,enchanting story line and bewitching characters. This year marks the film's 25th anniversary of its debut in 1987.
From celebrated directorRob Reiner (The Bucket List) and Oscar®-winning screenwriter WilliamGoldman (Butch Cassidy and the Sundance Kid) comes "an enchantingfantasy" (Time) filled with adventure, romance and plenty of"good-hearted fun" (Roger Ebert).  Featuring a spectacular castthat includes Robin Wright (Forrest Gump), Cary Elwes (No StringsAttached), Mandy Patinkin ("Homeland") and Billy Crystal (When Harry Met Sally). Click through to see the cast then and now!



Billy Crystal
Carol Kane
Wallace Shawn
Christopher Guest
Cary Elwes and Robin Wright
Mandy Patinkin
Chris Sarandon
Fred Savage
In celebration of theanniversary event, all who wear their best pirate or princess costume willreceive $2 off admission.
Rated PG for Adventure Violence, Brief Language, and MildSexual Themes1987 - Family AdventureComedy - 98 Minutes
Doors open at 6:00 PM forpre-movie fun.

How 'bout some more beans, Mr. Taggart?

To contact us Click HERE





















 This Friday, July 27th, The Orpheum Theatrewill host a “bean” drive for the Mid-South Food Bank in conjunction with thescreening of hilarious  Mel Brooks’western classic, Blazing Saddles.
Those familiar with the moviewill understand the bean reference. Yet, did you know that there are so manypositive nutrition facts when it comes to beans? Let’s start with the amazinglyhigh fiber count. One cup of black beans (2 servings) has more than 115% ofyour daily value of fiber, which gives beans the ability to satisfy yourappetite while seriously burning fat! Beans are also high in protein, which iswhy vegetarians aren’t the only ones eating beans in lieu of meat. With morethan 40 grams of protein in 1 cup of beans, you can see why they top the listof fat burning foods.
When it comes to nutritionfacts, beans are where it’s at.  Withlarge amounts of thiamin, folate, vitamin B6 and niacin, beans can provide youand your fat burning efforts with plenty of health benefits to promotewellness. You also get lots of nutrients when you add beans to your diet,including; calcium, iron, magnesium, potassium, phosphorus, zinc and manganese.
Beans have also  proven to provide many health benefits thatinclude lowering cholesterol and preventing spikes in blood sugar. This makesbeans even more appealing for diabetics, those suffering from hypoglycemia anda resistance to insulin. Furthermore, the soluble fiber in beans helps reduceyour risk of coronary disease and heart attacks.
If you can set aside thesometimes embarrassing side effects of eating beans, you’ll find that thehealth benefits far outweigh that small problem. Yet it’s the side effects thathave made beans the subject matter of countless jokes, children’s songs, and amemorable campfire scene in the Mel Brooks movie, Blazing Saddles. AlthoughWarner Brothers executives asked Mel Brooks to remove the famous campfirescene, he ignored the request and the film became a international success.
Can you imagine the BlazingSaddles without the beans?  Can youimagine your pantry without beans? Sadly, many Mid-South families can.
But you can do something to help.  ThisFriday night, bring a can of beans to The Orpheum’s showing of BlazingSaddles and you’ll save $2 off the price of admission while also helping The Mid-SouthFood Bank stock thepantries of needy families in our community. Donations are often slow inthe summer, and every can helps fight hunger in the Mid-South. 

The Mid-South Food Bank fights hunger through the efficient collection and distribution of wholesome food and through education and advocacy. It serves a network of partner agencies that includes food pantries, soup kitchens, shelters, youth programs, senior programs, rehabilitation centers and other charitable feeding programs. The Mid-South Food Bank has distributed 10.3 million pounds of food and other groceries in its 31-county service area in 2011. For more information, please visit www.midsouthfoodbank.org.


Blazing Saddles @The Orpheum this Friday, July 27th. Doors open at 6:15 PM forpre-movie fun.

Let's Dance: A Conversation with 'Billy Elliot' Choreographer Peter Darling

To contact us Click HERE
Billy Elliot the Musical is a glorious celebration of dance – all kinds of dance.

Yes, it’s the story of a young boy who aspires to a career in ballet, which is why people are often surprised to discover the broad movement palette utilized by choreographer Peter Darling. The choreography encompasses tap, hip hop, jazz, acrobatics, and folk dancing; even a pedestrian activity such as walking – no pun intended – is used as a form of expression.

Kylend Hetherington (Billy) in “Billy Elliot the Musical.” Photo by Kyle Froman
That diversity was very deliberate. “I didn’t want to convey the notion that only one form of movement is of value,” says Darling. “I wanted to use as many different forms of movement as possible. We’re celebrating dance; dance is worthy of celebration and all forms of dance can tell a narrative. Ballet can tell a narrative. Tap can tell a narrative.”

Tap fuels the show at least as much as, if not more than, ballet. “Tap is rhythmically exciting and such an expressive kind of dance,” says Darling. “At the same time, it’s synonymous with show business and musicals. And Billy Elliot is very much a musical; it’s not a ballet.”

In most musicals, tap is a rapturous articulation of joy. Often, its raison d’etre is nothing more – or less – than to entertain the audience. That kind of tap exists in Billy Elliot, most notably in the exuberant finale. But Darling also uses tap in a dark and powerful way in the “Angry Dance,” Billy’s response when his father orders him to give up ballet.

“Tap actually lends itself extremely well to anger,” says Darling. “The ‘Angry Dance,’ in a way, is about Billy wanting to stop dancing. But the rhythm in his head keeps on going. If you want to stop your feet from moving, you slam them to the floor. So that’s where the idea came from: Billy would slam his feet to the floor, and there would be a rhythmic element to it. And it went from there.”

The dances in Billy Elliot either advance the narrative or reveal something about the characters. “Born to Boogie” takes place after Mrs. Wilkinson, Billy’s teacher, reads a letter from the boy’s dead mother. Rather than launch into a ballet, Darling upends expectations with a jazzy number. “When you study ballet, it’s non-stop classes,” he says. “It almost feels like wearing a straitjacket. When Billy gets upset by the letter, Mrs. Wilkinson decides to give him a present, to cheer him up. Instead of saying, ‘We’re going to do 24,000 tendus again,’ she says, ‘OK, let’s have some fun. Let me find out how you move.’ So Billy starts to do Michael Jackson moonwalking, and she starts to do a few old steps. It’s a conversation, a fun dance, which is what jazz is.”

Darling infused the ballet choreography with contemporary movement, steps that would be anathema to traditional classical dance. When Billy auditions for The Royal Ballet in the number “Electricity,” the ballet he performs includes street dance, hip hop and acrobatics. “The idea is that The Royal Ballet is looking for young dancers with potential, who are phenomenal movers,” says Darling. “And Billy shows that he’s a phenomenal mover who can also turn three pirouettes.”

That number, more than any other in the show, underscores the beauty and vitality of ballet. “Ballet can be one of the most thrilling things you’ll ever see, because of the amount of training, technique, and strength required to do it. The training enables the body to do things that are phenomenally difficult. You’re able to travel through the air. It’s got a great freedom to it.”

Billy Elliot the Musical @ The Orpheum Theatre September 18-23.

What A Glorious Feeling! The Orpheum Commemorates 60 Years of "Singin' In The Rain" This Friday

To contact us Click HERE


In commemoration of the 60th anniversary of its release, Singin’ in the Rain has been added to The Orpheum's 2012 Classic Movie Series, and it will be dancing its way back into the theatre for a one-night-only event this Friday at 7:15pm. (Doors open at 6:15 for trivia and prizes!)

Dubbed "The Greatest Musical of Ever" by Time Magazine, Singin' In The Rain is a joyful piece of cinema set during the transitional period between silent films and "talkies" in the 1920s  a la The Artist (winner of the Oscar for Best Picture this year).

Here are a few things you might not know about this classic film:

1. The movie was mostly an excuse for Arthur Freed, the producer who made so many of the classic MGM musicals, to recycle songs that he'd written as a lyricist with composer Nacio Herb Brown two decades earlier for some of the studio's earliest musicals. As Betty Comden recalled, she and co-screenwriter Adolph Green were told by Freed, "‘Kids, you’re going to write a movie called “Singin' in the Rain”. Just put all of my songs in it.’ All we knew was there would be some scene where someone would be singing, and it would be raining."

2. The title number took seven days to film, with six hours of fake rain each day. The water was mixed with milk to make it show better on camera. The constantly drenched Kelly had a bad cold and fever the whole time, which makes his sunny demeanor during the piece all the more impressive.

3.  In an ironic case of double dubbing, when Debbie Reynolds (Kathy) was dubbing Jean Hagen (Lina)'s voice during the movie, the voice you hear is actually not Debbie Reynolds but Betty Noyes.

4. Debbie Reynolds (Kathy) was quoted as saying "The two hardest things I ever did in my life are childbirth and “Singin' in the Rain'." Although she praised Gene Kelly for his directing skills, he was a notoriously hard taskmaster when it came to the dancing routines. At one point she was so exhausted she curled up under a piano to cry, where Fred Astaire found her and offered to give her some pointers. She was only 19 when she was given the role.

5. O'Connor also worked himself to exhaustion on the "Make 'Em Laugh" number, which used bits of acrobatic comedy he'd done in vaudeville (including running up a wall and flipping into a somersault). O'Connor was a four-pack-a-day smoker, and after filming the number, he was bedridden for several days, only to learn that the footage had been accidentally destroyed. So he did it all again.
(Moviefone)


2 Ocak 2013 Çarşamba

Inconceivable!... Rob Reiner's Fan Favorite Fairy Tale Celebrates Silver Anniversary & Makes Orpheum Summer Movie Premiere this Friday

To contact us Click HERE


Scale the cliffs ofinsanity, battle rodents of unusual size, face torture in the pit of despair,and join Princess Buttercup and Westley on their spell-binding journey to findtrue love when The Princess Bride makes its Orpheum Theatre summer moviedebut this Friday, July 20th. A classic fairy tale complete with heroes, villains,trickery, mockery and death-defying miracles,  The Princess Bride captures audiences young and old with its brilliant, memorable dialogue,enchanting story line and bewitching characters. This year marks the film's 25th anniversary of its debut in 1987.
From celebrated directorRob Reiner (The Bucket List) and Oscar®-winning screenwriter WilliamGoldman (Butch Cassidy and the Sundance Kid) comes "an enchantingfantasy" (Time) filled with adventure, romance and plenty of"good-hearted fun" (Roger Ebert).  Featuring a spectacular castthat includes Robin Wright (Forrest Gump), Cary Elwes (No StringsAttached), Mandy Patinkin ("Homeland") and Billy Crystal (When Harry Met Sally). Click through to see the cast then and now!



Billy Crystal
Carol Kane
Wallace Shawn
Christopher Guest
Cary Elwes and Robin Wright
Mandy Patinkin
Chris Sarandon
Fred Savage
In celebration of theanniversary event, all who wear their best pirate or princess costume willreceive $2 off admission.
Rated PG for Adventure Violence, Brief Language, and MildSexual Themes1987 - Family AdventureComedy - 98 Minutes
Doors open at 6:00 PM forpre-movie fun.

How 'bout some more beans, Mr. Taggart?

To contact us Click HERE





















 This Friday, July 27th, The Orpheum Theatrewill host a “bean” drive for the Mid-South Food Bank in conjunction with thescreening of hilarious  Mel Brooks’western classic, Blazing Saddles.
Those familiar with the moviewill understand the bean reference. Yet, did you know that there are so manypositive nutrition facts when it comes to beans? Let’s start with the amazinglyhigh fiber count. One cup of black beans (2 servings) has more than 115% ofyour daily value of fiber, which gives beans the ability to satisfy yourappetite while seriously burning fat! Beans are also high in protein, which iswhy vegetarians aren’t the only ones eating beans in lieu of meat. With morethan 40 grams of protein in 1 cup of beans, you can see why they top the listof fat burning foods.
When it comes to nutritionfacts, beans are where it’s at.  Withlarge amounts of thiamin, folate, vitamin B6 and niacin, beans can provide youand your fat burning efforts with plenty of health benefits to promotewellness. You also get lots of nutrients when you add beans to your diet,including; calcium, iron, magnesium, potassium, phosphorus, zinc and manganese.
Beans have also  proven to provide many health benefits thatinclude lowering cholesterol and preventing spikes in blood sugar. This makesbeans even more appealing for diabetics, those suffering from hypoglycemia anda resistance to insulin. Furthermore, the soluble fiber in beans helps reduceyour risk of coronary disease and heart attacks.
If you can set aside thesometimes embarrassing side effects of eating beans, you’ll find that thehealth benefits far outweigh that small problem. Yet it’s the side effects thathave made beans the subject matter of countless jokes, children’s songs, and amemorable campfire scene in the Mel Brooks movie, Blazing Saddles. AlthoughWarner Brothers executives asked Mel Brooks to remove the famous campfirescene, he ignored the request and the film became a international success.
Can you imagine the BlazingSaddles without the beans?  Can youimagine your pantry without beans? Sadly, many Mid-South families can.
But you can do something to help.  ThisFriday night, bring a can of beans to The Orpheum’s showing of BlazingSaddles and you’ll save $2 off the price of admission while also helping The Mid-SouthFood Bank stock thepantries of needy families in our community. Donations are often slow inthe summer, and every can helps fight hunger in the Mid-South. 

The Mid-South Food Bank fights hunger through the efficient collection and distribution of wholesome food and through education and advocacy. It serves a network of partner agencies that includes food pantries, soup kitchens, shelters, youth programs, senior programs, rehabilitation centers and other charitable feeding programs. The Mid-South Food Bank has distributed 10.3 million pounds of food and other groceries in its 31-county service area in 2011. For more information, please visit www.midsouthfoodbank.org.


Blazing Saddles @The Orpheum this Friday, July 27th. Doors open at 6:15 PM forpre-movie fun.

Let's Dance: A Conversation with 'Billy Elliot' Choreographer Peter Darling

To contact us Click HERE
Billy Elliot the Musical is a glorious celebration of dance – all kinds of dance.

Yes, it’s the story of a young boy who aspires to a career in ballet, which is why people are often surprised to discover the broad movement palette utilized by choreographer Peter Darling. The choreography encompasses tap, hip hop, jazz, acrobatics, and folk dancing; even a pedestrian activity such as walking – no pun intended – is used as a form of expression.

Kylend Hetherington (Billy) in “Billy Elliot the Musical.” Photo by Kyle Froman
That diversity was very deliberate. “I didn’t want to convey the notion that only one form of movement is of value,” says Darling. “I wanted to use as many different forms of movement as possible. We’re celebrating dance; dance is worthy of celebration and all forms of dance can tell a narrative. Ballet can tell a narrative. Tap can tell a narrative.”

Tap fuels the show at least as much as, if not more than, ballet. “Tap is rhythmically exciting and such an expressive kind of dance,” says Darling. “At the same time, it’s synonymous with show business and musicals. And Billy Elliot is very much a musical; it’s not a ballet.”

In most musicals, tap is a rapturous articulation of joy. Often, its raison d’etre is nothing more – or less – than to entertain the audience. That kind of tap exists in Billy Elliot, most notably in the exuberant finale. But Darling also uses tap in a dark and powerful way in the “Angry Dance,” Billy’s response when his father orders him to give up ballet.

“Tap actually lends itself extremely well to anger,” says Darling. “The ‘Angry Dance,’ in a way, is about Billy wanting to stop dancing. But the rhythm in his head keeps on going. If you want to stop your feet from moving, you slam them to the floor. So that’s where the idea came from: Billy would slam his feet to the floor, and there would be a rhythmic element to it. And it went from there.”

The dances in Billy Elliot either advance the narrative or reveal something about the characters. “Born to Boogie” takes place after Mrs. Wilkinson, Billy’s teacher, reads a letter from the boy’s dead mother. Rather than launch into a ballet, Darling upends expectations with a jazzy number. “When you study ballet, it’s non-stop classes,” he says. “It almost feels like wearing a straitjacket. When Billy gets upset by the letter, Mrs. Wilkinson decides to give him a present, to cheer him up. Instead of saying, ‘We’re going to do 24,000 tendus again,’ she says, ‘OK, let’s have some fun. Let me find out how you move.’ So Billy starts to do Michael Jackson moonwalking, and she starts to do a few old steps. It’s a conversation, a fun dance, which is what jazz is.”

Darling infused the ballet choreography with contemporary movement, steps that would be anathema to traditional classical dance. When Billy auditions for The Royal Ballet in the number “Electricity,” the ballet he performs includes street dance, hip hop and acrobatics. “The idea is that The Royal Ballet is looking for young dancers with potential, who are phenomenal movers,” says Darling. “And Billy shows that he’s a phenomenal mover who can also turn three pirouettes.”

That number, more than any other in the show, underscores the beauty and vitality of ballet. “Ballet can be one of the most thrilling things you’ll ever see, because of the amount of training, technique, and strength required to do it. The training enables the body to do things that are phenomenally difficult. You’re able to travel through the air. It’s got a great freedom to it.”

Billy Elliot the Musical @ The Orpheum Theatre September 18-23.

What A Glorious Feeling! The Orpheum Commemorates 60 Years of "Singin' In The Rain" This Friday

To contact us Click HERE


In commemoration of the 60th anniversary of its release, Singin’ in the Rain has been added to The Orpheum's 2012 Classic Movie Series, and it will be dancing its way back into the theatre for a one-night-only event this Friday at 7:15pm. (Doors open at 6:15 for trivia and prizes!)

Dubbed "The Greatest Musical of Ever" by Time Magazine, Singin' In The Rain is a joyful piece of cinema set during the transitional period between silent films and "talkies" in the 1920s  a la The Artist (winner of the Oscar for Best Picture this year).

Here are a few things you might not know about this classic film:

1. The movie was mostly an excuse for Arthur Freed, the producer who made so many of the classic MGM musicals, to recycle songs that he'd written as a lyricist with composer Nacio Herb Brown two decades earlier for some of the studio's earliest musicals. As Betty Comden recalled, she and co-screenwriter Adolph Green were told by Freed, "‘Kids, you’re going to write a movie called “Singin' in the Rain”. Just put all of my songs in it.’ All we knew was there would be some scene where someone would be singing, and it would be raining."

2. The title number took seven days to film, with six hours of fake rain each day. The water was mixed with milk to make it show better on camera. The constantly drenched Kelly had a bad cold and fever the whole time, which makes his sunny demeanor during the piece all the more impressive.

3.  In an ironic case of double dubbing, when Debbie Reynolds (Kathy) was dubbing Jean Hagen (Lina)'s voice during the movie, the voice you hear is actually not Debbie Reynolds but Betty Noyes.

4. Debbie Reynolds (Kathy) was quoted as saying "The two hardest things I ever did in my life are childbirth and “Singin' in the Rain'." Although she praised Gene Kelly for his directing skills, he was a notoriously hard taskmaster when it came to the dancing routines. At one point she was so exhausted she curled up under a piano to cry, where Fred Astaire found her and offered to give her some pointers. She was only 19 when she was given the role.

5. O'Connor also worked himself to exhaustion on the "Make 'Em Laugh" number, which used bits of acrobatic comedy he'd done in vaudeville (including running up a wall and flipping into a somersault). O'Connor was a four-pack-a-day smoker, and after filming the number, he was bedridden for several days, only to learn that the footage had been accidentally destroyed. So he did it all again.
(Moviefone)


Jersey Boys Giveaway

To contact us Click HERE
One grand prize winner will be randomly selected to receive two tickets to the Wednesday, December 5 performance of JERSEY BOYS and a Jersey Boys Fan Pack that includes:  "Jersey Boys: The Story of Frankie Valli and The Four Seasons" Hardcover Book, "Seasons Greetings" Christmas CD, Tote Bag, T-Shirt, Pen and Bowling Pin Bottle Opener/Keychain.



















Second and third place winners will receive a Jersey Boys Fan Pack.

 a Rafflecopter giveaway

Prizes must be picked up in person at The Orpheum Theatre's main box office at 203 South Main, Memphis, TN 38103.  Photo ID is required.


Click Here for more information or to purchase tickets to JERSEY BOYS playing at The Orpheum Theatre December 4-16, 2012.

1 Ocak 2013 Salı

Compete Your Way to Mental Health . . . and Everything Else

To contact us Click HERE
December 23, 2012
Posted by Jay Livingston

“Silver Linings Playbook,” the new David O. Russell movie, starts off by making the audience uncomfortable.  We want to like Pat (Bradley Cooper).  We root for him to overcome the internal demons that landed him in a mental hospital for eight months.  We do like him.  But he keeps doing things we don’t like.  He is socially insensitive and often offensive, utterly absorbed in his own deluded ideas and obsessions, and although we know that these emanate from his psychiatric condition, it’s impossible to separate the personal from the psychiatric.  He is his mental illness, and it’s often not pretty.   We’re actually glad to see the cop who shows up to enforce the restraining order.  (Usually in American films, when a uniformed cop restrains the hero, the moral question is so clear the cop might as well be wearing a Nazi uniform.)

At some point, the film takes a turn away from the complicated and difficult.  It calls on a smooth, familiar recipe and gives us comfort food –  sweet chocolate pudding, spoonful after spoonful.  It’s made from good chocolate, but it’s predictable  pudding nonetheless.
                       
It all leads up to a climactic scene that we all know from countless other movies.  In this case, it’s a ballroom dancing competition:
The movie plays on one long-standing idea in American movies and TV: all moral questions, all questions of character, can be settled in a contest. Typically, the story sets out some difficulties for the hero — conflicts with the society, conflicts with some other person or organization, conflicts within himself. It all leads up to some climactic  contest.  Usually the hero wins, occasionally he loses. But the outcome doesn’t matter so much as the nobility of the fight, for win or lose, the hero has fought, and that seems to resolve all issues.   Rocky is the obvious example . . . .
That’s from six years ago in one of the first posts on this blog.  (I’ve edited it lightly.)  That post was about the first episode of Friday Night Lights.   But it could have been about “Silver Linings Playbook” – “Rocky” meets “Dancing With the Stars.” 

For a nearly complete plot summary, watch the trailer.


The contest seems to melt all problems no matter how complicated, no matter how seemingly unrelated to the competition itself – problems between a man and a woman, a son and father, friend and friend.
“Silver Linings Playbook” hits all three of those plus husband and wife, brother and brother, and maybe some others.  Other seemingly insoluble problems – from Pat’s obsession with his estranged wife to the side effects of medications – vanish.  And in case the pudding wasn’t already sweet enough, there’s an added Hollywood-ending bonus involving a large bet on the Cowboys-Eagles game, an outcome so predictable I’m not even putting in a spoiler warning.

And they all live happily ever after.


These themes are not inherent in movie contests.  In British films of the sixties – “The Loneliness of the Long Distance Runner” or “This Sporting Life” for example – athletic contests bring a heightened consciousness of the class system.* But in American movies, regardless of the setting – the boxing ring, the pool hall, the poker game, the karate dojo, the dance floor, etc. – competition works its magic and allows the heroes to overcome all personal and interpersonal problems. 
-----------------------------
* The more recent “Bend It Like Beckham” is much more Americanized, with its Hollywood-like resolving of all conflicts and its theme of social mobility. 

“Hyde Park” Speaks to the Future

To contact us Click HERE
December 24, 2012
Posted by Jay Livingston
                          
“Hyde Park on Hudson” has one jarring anachronism.  I’m sure the art design crew and the costume people worked hard to make everything authentically 1939.  The room decor, the clothing, that 1939 copy of Collier’s, the photographer’s cameras and hats, the cigarettes, and of course the cars.


But then why this?

(Click on the except for a larger view.)No wonder Missy has to ask what Daisy means.  We wouldn’t have metaphorical things on our metaphorical plates for another fifty years.* 

(Click on the graph for a larger view.)
The only plates in 1939 were the literal ones, the kind that keep crashing in the Hyde Park dining room.   It’s as though when FDR turns on the car radio, instead of the Ink Spots, we hear Kanye West – and intsead of a radio, an iPod.

------------------------------
* I think “Mad Men” too used this same plate cliche, but that was rushing things by only 30-40 years.  Also, in “Hyde Park,” when Eleanor offers an unflattering view of the British royals, FDR says, “Let’s give them a break, can we?”  That sounded anachronistic to my ear, but Google N-grams shows the phrase rising in popularity starting in the late 1920s.


(Click on the graph for a larger view.)
t

What Would You Do?

To contact us Click HERE
December 27, 2012
Posted by Jay Livingston

When you ask a “what if” question, can you take people’s responses at face value?

A student sent me a link to a study that asked whether Americans or Turks were more likely to act on principles of universalism as opposed to particularism.

I had talked in class about universalism (apply general rules to everyone) and particularism (decide based on the needs, desires, abilities, etc. of the actual people in some real situation).  My five-cent definition was this: With particularism, if the rules don’t fit the people, too bad for the rules.  With universalism, if the rules don’t fit the people, too bad for the people. 

One of the examples I used to illustrate the difference was shopping.  For most items, we prefer universalism – a fixed price.  Everyone pays the amount marked on the price tag. You have only two options: buy it or leave it.  In Mediterranean cultures, buyers and sellers are much more likely to haggle, arriving at a price based on the unique utility curves and bargaining skills of the buyer and seller.  This winds up with different people paying different prices for the same item.

The researchers asked American and Turkish students about a “hypothetical situation”:
You are a professional journalist who writes a restaurant review column for a major newspaper. A close friend of yours has invested all her savings in her new restaurant. You have dined there and think the restaurant is not much good. Does your friend have some right to expect you to hedge your review or does your friend have no right to expect this at all?
I assumed that the study would find Americans to be more universalistic.  But I was wrong, at least according to this study.
TurkishAmericanTotal
Particularistic8 (19%)85 (65%)93
Universalistic34 (81%)45 (35%)79
Total42130172


Four out of five Turkish students said they would write their review according to universalistic principles.  Two-thirds of the Americans said they’d give their friend a break even if that meant departing from the standards of restaurant reviewing.

I was surprised.  So was my Yasemin Besen-Cassino.  Not only is she Turkish (though very global cosmopolitan), but she sometimes teaches a section of our methods course.  She added, “I am not a fan of hypotheticals on surveys.”

And oh boy, is this hypothetical.

  • IF you were a reviewer for a major paper and
  • IF the restaurant were bad and
  • IF the owner were your friend and
  • IF she had invested all her money in the place
    what kind of review would you write?
The more hypothetical the situation, the more I question people’s ability to know what they would do.   “IF the election were held today, who would you vote for?” probably works.  The situation – voting – is a familiar one, and there’s not all that much difference between saying the name of a candidate to an interviewer and choosing that name on a ballot.   But how many of us have experience writing reviews of friends’ restaurants? 

Nearly all my students say that if they were in the Milgram experiment, they’d have no trouble telling the experimenter to take a hike.  And all those concealed-carrying NRA members are sure that when a mass murderer in a crowd started firing his AR-15, they would coolly identify the killer and bring him down.  But for novel and unusual situations, we’re not very good at predicting what we would do. 

When I present the Milgram set-up and ask, “What would you do?”  sometimes a student will say, “I don’t know.”  That’s the right answer.

Gun Laws and Crime in Other English-Speaking Countries

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December 29, 2012
Posted by Jay Livingston



Great Britain and Australia, according to the title of an op-ed in the Wall Street Journal, provide “Two Cautionary Tales of Gun Control.”  In both countries, the government responded to a massacre by passing more stringent gun laws. 

The author is Joyce Lee Malcolm, and she surely knows more about this than I do.  She’s a professor at George Mason, and she’s written a book, Guns and Violence: The English Experience, published by Harvard.  And she provides some data.  For example, she refers to the UK “Firearms Act of 1998, which instituted a nearly complete ban on handguns.” 
Within a decade of the handgun ban and the confiscation of handguns from registered owners, crime with handguns had doubled according to British government crime reports. Gun crime, not a serious problem in the past, now is.
I’m not sure which government report she’s referring to, but here’s a graph from one I found, the Home Office Statistical Bulletin.

(Click on the graph for a larger and clearer view.)

For two years following the Firearms Act, handgun crime increased.  But a decade later, in 2008, handgun crime was only slightly higher than it had been a decade earlier.  Today it’s lower than it was the year of the Firearms Act.*  Prof. Malcolm must have been looking at some other government report.  In this graph, starting in 2000, handgun crimes decrease markedly.  At the same time, the number of crimes committed with “imitation guns” increases.  I don’t know about you, but if I had to face a robber, I’d much prefer one armed with a fake gun than a real one.  So if this is a substitution effect caused by the law, that would seem to be a positive outcome.  Here in the US, we accept no substitutes.

The stricter gun law in Great Britain was passed after a school shooting similar to Newtown.  The law, Malcolm says, was the result of  “media frenzy coupled with an emotional campaign by parents [of victims].”  Killing is what gets the media in a frenzy and causes the parents of victims to be emotional.   So I would have thought that the first crime to look at would be homicide.  But curiously, in her WSJ article, Malcolm makes no mention of it.  Still, I was curious, and I managed to find this graph showing the trend in homicides.

I’m not sure which “cautionary tale” these numbers are telling.  The downward trend in the graph in the last decade is hardly support for the idea that the gun law has made things worse.**  The British are killing each other less often – 550 last year, about 10% of them with guns.  The 550 homicides translate to rate of 9 murders per million.  The comparable rate in the US is five times that, about 48 per million.

Australia too passed a strict gun law following a mass murder in 1996.  Malcolm summarizes the crime data:
In 2008, the Australian Institute of Criminology reported a decrease of 9% in homicides and a one-third decrease in armed robbery since the 1990s, but an increase of over 40% in assaults and 20% in sexual assaults.

It’s hard to see how the gun law might have affected assaults and sexual assaults, and in any case, the rise in these crimes began before the gun law, as did the decrease in gun homicides.  On the other hand, it’s much easier to imagine how the gun law could have led to a reduction in armed robbery.



Here is Malcolm’s conclusion from all the evidence.

Strict gun laws in Great Britain and Australia haven't made their people noticeably safer, nor have they prevented massacres.            

As I say, Malcolm must know much more about crime in Great Britain and Australia than I do. But the graphs do make it look as though people in those countries are in fact safer than they were twelve years ago.  As for mass murders, gun restrictions cannot “prevent massacres” if that phrase means “prevent all massacres.”  The question is whether gun laws that restrict the availability of guns, especially guns that can shoot a lot of bullets, can reduce the number of such incidents and the number of victims.  I don’t have the trends in those numbers for Great Britain or Australia.  I wish Malcolm had provided them in her op-ed, but she did not.
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* The Home Office report shows data going back only ten years.  The numbers for 1998 and 1999 are slightly lower than in 2000.  Also, these are numbers, not rates.  In that decade, the population of the UK increased by about 2.5%.  A graph of rates per population would show a somewhat larger decline.

** As the fine print under the graphs says, the highest bars in the graph, 2002-3, include 172 victims of a serial killer, Harold Shipman.  The Home Office apparently assigned all these to the year Shipman was convicted, though the murders happened over the course of many years.

Chillin’ With Lenny, Yo

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December 31, 2012
Posted by Jay Livingston

Tonight the Cathedral of St. John the Divine will offer its annual New Year’s Eve Peace Concert.  The announcement notes that “The late Maestro [Leonard] Bernstein inaugurated the annual New Year's Eve Concert for Peace more than a quarter century ago.”  More precisely, it was in 1983.  I was there. [Not quite.  It was the Dec. 31 1986 concert that I attended.  See the update below.]

Bernstein’s performance that evening combined two elements that had earned him some disdain: liberal politics and popular music.   Conservative commentators and serious music critics had scoffed at his enthusiasm for leftist causes and youth culture.  “Radical chic,”Tom Wolfe called it, implying that what motivated Bernstein was not the desire for justice or equality but the personal desire for the approval of the hip and the young.  To those critics, Bernstein’s political activity was all about style, not substance. So were the rock-music examples in his lectures. 

Bernstein was undeterred. Hence, the Peace Concert (among many other efforts).  He also remained open to the music of the young, the gifted, and the Black; he refused to dismiss it out of hand as inferior or as unworthy of the attention of serious people. 

Here is my memory of what Bernstein said that evening, New Year’s Eve, 1983.

Bernstein said that he one day when was working in the studio in his apartment, he went to get something from another room.  As he was passing the kitchen, he heard the radio that his housekeeper was listening to.  It was a loud and rhythmic but without much actual singing. 

“What is that?” he asked.  The housekeeper offered to turn the radio off.   “No, no,” Bernstein said, “don’t turn it off.  But what’s that you’re listening to?” 

“Oh, Mr. Bernstein,” she said, “that’s hip-hop.”

It was 1983, and Grandmaster Flash and Run DMC had crossed over into the general culture.  Still, I suspect that for most of the audience in St. John the Divine that evening – over thirty and overwhelmingly white – hip-hop was not exactly familiar territory.

But Lenny had listened and learned, and he delivered a speech in rap – a Jeremiad against Reagan, the arms race, the Pentagon budget, SDI (Star Wars), etc.  I think Lenny may have even had a recurring tag line or refrain, something with the word “hip-hop” in it.   Unfortunately, though I have searched the Internet, I have been unable to find a transcription or even any reference to Lenny rapping that night.  Still, I’m sure I did not imagine it. *

Peace Out.

UPDATE: Jenn Lena called out the troops to help where memory failed.  Jonathan Neufeld found the references.  Bernstein’s hip-hop speech did happen on New Year’s Eve, but the year was 1986, not 1983. 
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* It’s the timing of this incident that I’m unsure of.  I’m sure I heard Bernstein tell this anecdote in St. John the Divine and continue with his sermon in rap.  I remember it as a chilly winter evening.  But was it New Year’s Eve?  The few references to Bernstein’s speech that night say nothing about hip-hop.  The closest thing I can find is the title of a lecture, “How Leonard Bernstein Invented Hip-Hop” given by Joseph Schloss at Middle Tennessee State University.  But I cannot find an e-mail, phone number, or Facebook page for Schloss, and besides, his take on the Bernstein/hip-hop connection is different.  In my anecdote, Bernstein does not invent hip-hop but rather discovers it years after its creation.