Fox's Tubi Just Surpassed Peacock as the Free Streaming Name to Watch - Nasdaq

Fox's Tubi Just Surpassed Peacock as the Free Streaming Name to Watch - Nasdaq Fox's Tubi Just Surpassed Peacock as the Free Streaming Name to Watch - Nasdaq Posted: 01 Feb 2021 12:00 AM PST [unable to retrieve full-text content] Fox's Tubi Just Surpassed Peacock as the Free Streaming Name to Watch    Nasdaq You are subscribed to email updates from "fully online ota program,online mba programs" - Google News . To stop receiving these emails, you may unsubscribe now . Email delivery powered by Google Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States

The Classical Concert That Changed Their Lives - The New York Times

The Classical Concert That Changed Their Lives - The New York Times


The Classical Concert That Changed Their Lives - The New York Times

Posted: 18 Dec 2020 02:00 AM PST

Carrie Sun and Christopher Cerrone met on April 20, 2018 in Manhattan after a classical music concert held at St. Peter's Church. She had just quit her job at a hedge fund and was planning to leave New York. Her movers were coming in 21 days.

Even so, they had drinks after the concert and he asked for her number. Then he invited her to a screening of the opera, "Invisible Cities," at the Brooklyn Academy of Music.

Ms. Sun, 35, who received degrees in mathematics and finance at M.I.T., accepted his invitation, knowing she was about to enroll in a creative writing M.F.A. program at Hollins University in Roanoke, Va.

Mr. Cerrone, 36, a graduate of the Yale School of Music, where he received masters and doctorate degrees, is now a professional composer. And that opera was his. He was a 2014 Pulitzer finalist in the music category for the composition.

"I didn't think a screening was a proper date since we barely had any alone time, but he asked me out on a second date to go to the Brooklyn Botanic Garden," Ms. Sun said.

She asked him out two days after that. "We ended up having three dates in one week," she said.

After the third date, the couple saw each other every day. They discussed a wide range of topics, including: literature, music, economic inequality and "The Sopranos." They also talked about his father, who emigrated from Italy in the 1940s, and her parents who studied English in China and then immigrated to the United States — her father in 1988, she and her mother in 1990.

"Chris and I discovered that we had matched on Tinder the previous year, but neither of us had messaged each other," she said. "He looked me up on Facebook and decided against contacting me because I worked in finance."

Mr. Cerrone had terrible online dating experiences. Ms. Sun's profile was very minimalist. The only thing that struck him was a mutual friend she listed. "Using that tiny detail, I scoured Facebook and discovered that Carrie worked in finance, which was enough for me to write her off," Mr. Cerrone said. "Nevertheless, I called her. Speaking to her, I realized that she was an extremely interesting and thoughtful person. She challenged me to rethink some of my long-held biases."

Five days before her move to Virginia, Mr. Cerrone told Ms. Sun that he really liked her, but at the age of 34, he didn't want to sign up for a two-year long-distance romance. "Neither did I," Ms. Sun said. She had an offer from the New School for an M.F.A. in creative writing that she turned down, but called and discovered that the offer and scholarship were still available. "I called Chris. It's been decided. I'm staying."

Two weeks later, at a violin concerto premiere with the Detroit Symphony Orchestra, Mr. Cerrano met her parents. The night before the concert he told Ms. Sun that he loved her. A month after that, she moved into his place in Brooklyn.

They were engaged Aug. 30, 2019 after a trip to the Bronx Zoo and then Little Italy on Arthur Avenue in the Bronx. "I led Carrie to the nearby Ciccarone Park, where I sat her on a bench and proposed," Mr. Cerrone said. "This was the perfect spot. It was beautiful to see families old and young, from different backgrounds congregating together."

The couple were married Dec. 2 in the Concert Grove section of Prospect Park in Brooklyn. Jennifer Milich, a minister of the Universal Brotherhood Movement, officiated before her parents, Qiao Cui and Wenqiu Sun of Dexter, Mich., and Mr. Cerrone's parents, Barbara Cerrone and Bernard Cerrone of Blue Point, N.Y., along with a few close friends.

"Carrie is the most extraordinary person I've ever met," Mr. Cerrone said. "Not only is she smart and interesting and kind, but she jumped first and changed her life around to be with me. All I want to do is support her in her work as a writer." Ms. Sun is currently working on a memoir.

"We want to discuss books, films, and music to the tiniest level of minutiae for the rest of our lives," Mr. Cerrone said.

Montauk Music Teacher Turns Sixth Graders Into Podcasters - East Hampton Star

Posted: 17 Dec 2020 12:16 PM PST

Jake Lorefice, a music teacher at the Montauk School, got his students started on podcasting with this prompt: "Explain something that kids understand but adults don't."

Compared to most people, Jake Lorefice was one New York University music technology master's degree more prepared to roll with the pandemic's punches and modify the Montauk School's music program, setting his sixth graders up for podcasting success. 

The 25-year-old from East Moriches had begun his master's at N.Y.U. three years ago, the same year he took up his kindergarten-to-eighth-grade vocal music position at Montauk. As he looked ahead to graduate from N.Y.U. in the next few days, Mr. Lorefice considered the "serendipitous" overlap in which he found himself conducting students remotely in the spring, and in the fall applying his music technology knowledge to Covid-safe study.

"A lot of what the administration thought was that you can lead your rehearsal remote, but everyone soon realized there's a pretty serious lag time, so making music in real time -- which is what is required of making music -- is pretty impossible."

His thesis, which he was filming later that day, studied how music education actually went during distance learning, drawing from the successes and not-so-successes of teachers in areas like Springs, Westhampton Beach, and Nassau County.

He found most teachers had luck with supplemental material like history and theory, but as far as the music went, "the conclusion of the study is kind of crummy. It's really not possible. The whole concept of making music might have to change." 

Too dependent on interpersonal connection, actual music would need to be individually recorded and then stitched together by the conductor, something that is labor intensive for everyone involved. The challenge exposed a need for developing some kind of software to do it automatically, he said.

When the Montauk School resumed in-person study in the fall, his problems were not exactly solved. "Now the kids have to be in their own classrooms and really don't leave because of the cohort concept." Sharing instruments, switching drums, or a chorus with "75 kids in a room speaking and spitting everywhere" were obviously a Covid nightmare.

Students' Chromebooks came to the rescue with "really wonderful software" that Mr. Lorefice was familiar with thanks to his degree. After doing a piano lab with mini desktop keyboards that plugged into the Chromebooks, he turned his sixth graders' attention to podcasting, which required only a microphone plug-in.

What his students came up with was "next level, you would never expect it," he said. He was wowed by how his students wielded their autonomy. "I just gave them the prompt and let them go. Explain something that kids understand, but adults don't." 

He wanted them to create their own mode of explanation using the podcasting medium, and so limited his advising to a template of "three major chunks of speaking: intro, body, and outro. And between all of those you have to do transition music."

Carli Stuckart, a sixth grader, commented, "I think the podcasts were a great way for us to express ourselves and our hobbies."

After listening to popular podcasts with ears trained on musical choices, Mr. Lorefice said, his students took original stabs at their own soundtracks and scripts. The two-to-three-minute-long podcasts run the gamut from lively chatter about why school should start later, why siblings are annoying, why kids talk in class, and why you can't pause an online video game, perhaps brought to light by quarantined kids being called to dinner by parents, Mr. Lorefice reckoned. 

In answer to whether TikTok made an appearance on any set lists, Mr. Lorefice said without missing a beat, "Oh my God, there were like a million TikToks." He cited a few podcasts about Charli D'Amelio, a TikTok star, and a particularly interesting one about how parents lack the understanding that their kids cannot simply play with another kid on account of the fact that they are both kids.

The unit finished in October, a month earlier than Mr. Lorefice had anticipated. With such fine work, he had nothing to add.

Drawing on his music technology background for music class at the Montauk School was a "big departure" from the usual "recorder-based" music program. Mr. Lorefice, who attended the Fredonia School of Music as an undergraduate, and Montauk's just-turned-30 band director make up the school's young music and drama program, the latter of which Mr. Lorefice also would normally direct in non-Covid times. 

Regarding the possibilities of a music program, Mr. Lorefice spoke to the tradition of the recorder and why in the world middle schoolers must learn to play it at all: "It's funny that you say that because you don't." At his old teaching job at Harborfields in Greenlawn, "I was forced to teach the recorder. I said to myself, 'I'll never be a recorder teacher. This sucks.' The first question I asked to my superintendent, Mr. Perna, was, 'Can we do ukulele rather than recorder?' "

Not only can students sing and play at the same time, he said, but the ukulele is a stepping stone to learning guitar chords. Instead of $400 every year on new recorders, the school could spend $600 on ukuleles that last for 10 years -- which was done in 2018 -- and by 2028 music class might look completely different all over again.

The Year in Improvised Music: ‘Everything’s Changing. So the Music Should.’ - The New York Times

Posted: 17 Dec 2020 02:53 PM PST

When concerts and in-person gatherings shut down this spring, livestreamed shows quickly started to feel like a glorified last resort. I found myself avoiding them. But a Facebook video caught my eye one day in June, of the trombonist Craig Harris performing at the Brooklyn Botanic Garden. Accompanied by the keyboardist Pete Drungle, framed by a flowering grove and a trellis, he played "Breathe," a suite of concise and soothing music that sounds like the sum of Mr. Harris's experiences on the New York scene since the 1970s.

He had written "Breathe" after Eric Garner's killing by New York police in 2014; it was his reflection on the notion of breath as a great equalizer, and as the source of Mr. Harris's own powers as a trombonist. But at the start of this video, he turns to those affected by Covid-19. He offers the suite as "a sonic reflection for those who have passed, and those who are born," Mr. Harris says. "We have to think about the lives of the people who are born in this period now. That's a whole thing, the beginning and the end."

The performance was taped in May, before George Floyd's killing in Minneapolis and its nightmarish resonance with Garner's death. By the time Mr. Harris's video was released in June, protesters were constantly in the streets, and the suite's original message had become painfully relevant again. But even in this new light, the poise and sensitivity that Mr. Harris had intentionally brought to this performance didn't feel out of place.

For any lover of live performances — but especially jazz and improvised music — 2020 will be remembered, joylessly, as the year of the stream. Musicians have done their best with what they've had, usually by leaning into intimacy; we saw a lot of artists' bedrooms this year. But it was actually in the moments when musicians zoomed out — when they made our perspective bigger, and connected this difficult moment with a greater sense of time — that improvised music did its most necessary work.

With concerts impossible, the vocalist and interdisciplinary artist Gelsey Bell assembled "Cairns," a remarkable audio tour of Green-Wood Cemetery in Brooklyn; it's part philosophy talk and part experimental music composition, built of Ms. Bell's overdubbed vocal improvisations and the sounds of the cemetery as she walks.

Green-Wood is a majestic place, and there is something robust and alive about it, even though generations of history lie in its soil. "As I started making it, I was really thinking about our relation to the land and the history it holds, and then where we find ourselves now," Ms. Bell said of "Cairns" in an interview. "To be connected to the land you live on is to be connected to both its history and the other people that you're sharing space with."

On the hourlong recording, Ms. Bell tells of various little-known but significant figures, using their histories to illuminate what she calls "the apocalyptic foundations of this place." And she gives us the histories of the trees, instructing us to listen to the ways they sing to each other, and will continue to after we're gone.

Hiking up a hill, Ms. Bell turns the sounds of her breathing and walking into a kind of mulchy, rhythmic music. "Because of breath, we'll never forget how stuck in time we are, how mortal we are," she says, making the word "mortal" sound like a good thing.

It wasn't impossible to make music via stream that really pulled people together — just rare — and on this front, couples had an advantage. The week that the Centers for Disease Control and Prevention recommended all concerts be put on hold, the vocalist Cécile McLorin Salvant and the pianist Sullivan Fortner propped up a camera beside the piano in their living room and broadcast a set of music via Facebook to thousands of viewers. The comments section turned into a chattery town square, full of nervous and grateful people unsure of what the coming months would bring.

The bassist Dezron Douglas and the harpist Brandee Younger started performing duets from home every week, ultimately collecting them in a disarming album, "Force Majeure," released this month. The saxophonist Ingrid Laubrock and the drummer Tom Rainey got in the habit of recording their wide-ranging living room improvisations and publishing them on Bandcamp, in a series that continues under the name "Stir Crazy."

Working alone, the clarinetist Ben Goldberg also started posting daily solo recordings in March on a Bandcamp page labeled "Plague Diary"; it now has nearly 200 entries. Listen for long enough and the tracks of overdubbed instrumentals and low, repetitive rhythms start to run together, like the hazy interminable feeling of existing at home amid lockdown.

The saxophonist Steve Lehman swung in another direction, releasing a less-than-10-minute album, "Xenakis and the Valedictorian," featuring snippets of exercises and experiments that he had recorded on his iPhone, practicing in his car each night so that his wife and daughter could have peace in the house.

Continuing to perform during the pandemic — near impossible as it often was — was both a creative and a financial imperative for improvisers, many of whom saw all of their upcoming performances canceled in March. But newly liberated from obligation, inspired by the movement sweeping the country, many also began to organize.

Much good critical attention was paid this year in the music press to the ways that our listening habits have had to adjust to lockdown, and to how performances have changed. But what about the institutions that also fell quiet — especially the schools and major arts nonprofits, which have perpetuated massive racial and economic disparities in access to the music? Will they all look the same when things come back online?

Musicians across the world came together via Zoom to organize the We Insist! collective to address these questions, eventually coming up with a list of demands to promote racial equity in major educational institutions and philanthropic groups in the jazz world. A group of artists of historically underrepresented gender identities came together in the Mutual Mentorship for Musicians collective, striking a creative blow against patriarchy in jazz. And as protests overtook streets nationwide, jazz musicians were often there.

The bassist Endea Owens showed up on the second day of protests in New York back in May, she said in an interview. She almost immediately felt a need to contribute music, and she helped put together bands that played daily at demonstrations over the next three weeks. "We were out there for two to three weeks, walking from Washington Square Park to the Barclays Center, just playing," she said. "That created a ripple effect of something creative, something positive. You felt like you had to fight for your lives."

In Harlem, where she lives, Ms. Owens started a monthly series of masked, socially distanced cookout concerts. Using donations as well as money from her own pocket, she has handed out 100 free meals at each one, while paying underemployed jazz musicians to perform. As a member of Jon Batiste's Stay Human, the house band for "The Late Show With Stephen Colbert," Ms. Owens has been the rare jazz musician this year who could count on a steady paycheck.

But without nightly gigs, she has still had an excess of downtime. Now that she has made connections with other organizers and mutual aid groups in the area, she is thinking about how to continue that effort into the future, even if the usual work opportunities for musicians come back.

"There's a big opportunity to make jazz feel more familiar and make it feel more accessible, where anyone can go to these shows," Ms. Owens said. "I don't even think it's possible to go back to the way we did things. Everything's changing. So the music should. The way we perform, the way we approach it, the places where we have this music."

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