The Apollo Chorus of Chicago are literally in the mix of the upcoming Netflix show Sense8. You can hear us in this promo.
We haven't been able to share this information until just now. The chorus recorded a cover of Leonard Cohen's "Hallelujah" at our November 21st rehearsal. (I unfortunately missed the rehearsal, so I'm not singing in the episode. Boo.)
Yesterday the Apollo Chorus of Chicago sang Händel's Messiah for (possibly) the 274th time since we first sang it in 1879. We're going to do it again this afternoon. Our local ABC affiliate has more:
For nearly a century and a half, the Apollo Chorus has brought beautiful music to Chicago. On this night, the all-volunteer choir is rehearsing for one of the city's most cherished holiday traditions: a performance of Handel's "Messiah."
"When we sing Messiah, since Handel wrote it - think of how many thousands and how many choruses have sung it in how many countries and we're a part of that," chorus [president] David Beer said.
So, it's a fluff piece, but apparently I was on TV. Thus the link.
Seats are still available for today's 2pm performance.
Vice President-elect Mike Pence attended a performance of "Hamilton" in New York last night, and at the curtain call, actor Brandon Victor Dixon (who plays Aaron Burr) had something to say:
Pence reportedly left the auditorium before Dixon finished speaking, but a show spokesman told the Associated Press that the vice president-elect stood in the hallway and heard the full message.
Apparently unaware that (a) the Constitution grants all Americans the right to free speech and "to petition the government for redress of grievances," and (b) elected politicians should, by virtue of their jobs, expect direct and public criticism at all times, President-elect Donald Trump took to Twitter:
Just, wow. The person almost half the voters chose to be president can't help himself, can he? I really look forward to this idiot blowing up our relationships with most of the world over Twitter. And to think, more than half the voters thought he hasn't got the temperament to be president.
Recaps of the debate comprise just a few of the things I haven't had time to read today:
- Who hated Trump's caginess on whether he'd accept the election results if he lost? Everyone: The Economist, The New Republic, The National Review, Talking Points Memo, everyone.
- Trump's debate performance is being compared to book reports by kids who haven't read the book.
- Pilot Patrick Smith says Trump's airline wasn't that bad for customers, but it never made a profit either.
- Meanwhile, the Cubs beat the Dogders 10-2, which means the series will be decided at Wrigley on Saturday or Sunday.
- Looks like Chicago will have a warm-ish November and a normal-ish winter.
- One of the world's largest data centers, here in the South Loop area of Chicago, will soon be a lot bigger.
- Funny statistic: almost all airport noise complaints come from a handful of people—like the one person in Maryland who complained about Washington Dulles 1,024 times last year.
- Finally, "Hamilton," which I saw Sunday, got a rave from the Tribune.
Back to my meetings.
It's fascinating how working from home doesn't seem to give me more time to, you know, work. So these have backed up on me, and I hope to read them...someday:
OK, so, that's going to take a few minutes...
Fifty years ago today, the Beatles released Revolver:
[I]n their spare time, the Beatles make the greatest rock album ever, Revolver, released on August 5th, 1966 – an album so far ahead of its time, the world is still catching up with it 50 years later. This is where the Beatles jumped into a whole new future – where they truly became the tomorrow that never knows.
Revolver is all about the pleasure of being Beatles, from the period when they still thrived on each other's company. Given the acrimony that took over the band at the end, it's easy to overlook how much all four of them loved being Beatles at this point and still saw their prime perk as hanging with the other Beatles.
There's an endearing hubris all through the music – captured perfectly in the eight-second guitar break that cuts in at the end of "Got to Get You Into My Life," flipping it into a whole new song, or the dizzying guitar frills in "And Your Bird Can Sing." You can hear that in the band's press conferences from their summer tour, as when a reporter in L.A says, "In a recent article, Time magazine put down pop music. They referred to 'Day Tripper' as being about a prostitute and 'Norwegian Wood' as being about a lesbian. And I just wanted to know what your intent was when you wrote it, and what your feeling is about the Time magazine criticism of the music that is being written today." Paul replies with a straight face. "We're just trying to write songs about prostitutes and lesbians, that's all."
This was one of the first CDs I ever bought—it's #36, from September 1988—and it's still one of my favorites. I think I should listen to it today, in fact.
Pitchfork was a good way to spend most of Saturday (and the weather was perfect). Hanging out with friends and running errands was a good way to spend yesterday. And now I'm back at work.
With the Republican National Convention going on this week, I expect I'll have regular posts*. But it's starting to look like July might be my slowest month for posting since I finished my MBA.
* For instance, what does it say about the Republican Party that Cleveland felt it necessary to quadruple its police force for the week?
Because I need to read all of these and have to do my actual job first:
I'll get to these this evening. I hope.
The Toronto Symphony Orchestra has created brilliant listening guides for audiences:
Hannah Chan-Hartley is the managing editor and musicologist at the Toronto Symphony Orchestra (TSO). She oversees the production of the orchestra’s various printed programmes, from designing layouts and writing and editing content, to the creation of its intriguing ‘listening guides’ with graphic designer Gareth Fowler.
A deft mix of text and graphics, the guides can be read while listening to the performance, their layout visualising the thematic progression of the music, indicating the keys in use, what instruments feature and, using morse code-like notation, their duration.
Check out the graphics themselves on the Creative Review or percussionist Chester Englander's Twitter feed.
That said, since childhood I've really enjoyed Peter Schickele's approach: