Sorry all, I attempted to send my post last night, but it wouldn’t go through, so I’m posting it now.

Being that basketball is my favorite sport, I was intrigued by the article “How Do you Get To Broadway? Go to a Basketball Camp.”  Upon reading I found out there is a    Broadway musical “Lysistrata Jones,” which focuses on a college basketball team on a losing streak.  However, none of the actors are very knowledgeable in the game of basketball.  Due to their inabilities to play the game, actors will be attending a “five-day basketball camp organized by Chris Mullens.”  Chris Mullens was recently inducted to the basketball hall of fame, which is quite a feat.

Also interesting to note, “Lysistrata Jones” is performed on a basketball court.  However, being on a basketball court doesnt make this musical all fun and games, there is a bit of historical context involved as well.  The play is based on a 411 B.C. play known as “Lysistrata.”  In “Lysistrata,” the heroine tells the wives of soldiers to withhold sex form them until the end of the Peloponnesian War, and the same idea is brought up in the new modern “Lysistrata Jones.”  The heroine  Lyssie Jones transfers to Athens College, where ‘expectations are so low that the basketball team expects to lose every game.”  One of her methods is the use of sex to motivate the team players to attempt to win games.

Ben Brantley gives this musical a very good review.  He describes the ideas of energy and high octane that this play encompasses that makes this play enticing.  However, he opens with terms concerning eating and metabolism, which I didn’t fully understand being that this was a musical about basketball and gaining calories isn’t an issue when it comes to playing sports.

The play was previously shown on the Judson Memorial Church Gymnasium on Washington Square, but will have  “previews at the Walter Kerr Theater on November 12th and open on December 14th.”

Dance can be a complicated art to understand. Unlike theater, the stories in dance are unfolded with the body’s movement and little dialogue. Whether one understands the dance or not can shapes the opinion of a person to recommend it or not.

Brian Seibert reviews “Tool Is Loot,” starting off with a vague opinion of the plot of the dance. He first introduces the name of the dance, the main dancers, and states that the dance was “circuitous.” Choosing that word vaguely illustrates Seibert’s opinion of the dance. I believe that he is connoting the word to say that the plot of the dance got lost as it progressed. This may not be revealed at first as Seibert speaks of the history of how this dance came to be, and compliments the dance before breaking down his review of the characters in the dance, which are also displayed in a positive light. He even praises the music that was used in the dance. Then he drops the bomb. At the end of his review, Seibert states that the ending of the dance ‘lost him,’ and that it trailed off from what it was in the beginning. Then at the very end, he states “And such enchanting performers as these should be seen.” The tone, depicting disappointment in the dance, and the placement of this sentence both indicate that Seibert does not recommend this dance. At least that is what I have deducted from his review.

In Gia Kourlas’ review of “Chapa Quente,” she begins with the background of the choreographer. Then she continues on and gives information about the dance, describing parts of what she saw. Gia continues her review and brings up another dance that is being held at the same place as ‘Chapa Quente’ and compares the two dances. I think that by comparing the two dances, Gia is able to convince the audience that ‘Chapa Quentes’ is a better dance to watch. Her opinion of ‘Chapa Quente’ is shown at the ending through her tone of how the dance was successful in its portrayal of Hip Hop on stage.

A trend that I have noticed in many current exhibitions is the theme of technology. In a previous post I discussed MoMA’s “Talk To Me.” The New York Times Article “Data as Art, as Science, as a Reason for Being” by Edward Rothstein describes the I.B.M. “THINK” exhibit.  This exhibit, according to the arcticle, showcases the different technologies of the company’s past and its ideas for the future. It uses numerous screens to show off diffent things about I.B.M. and technology. It is in Lincoln Center from September 23 to October 23 and is free but requires tickets for timed sessions.

Rothstein’s review of the exhibition is effective because it first describes the exhibit, telling the audience what it is about, then goes on to critique it. He offers suggestions of things it could have done better. He does make the point that the exhibition is sh. His critique gives off the impression that the exhibit didn’t live up to its potential but it was still very good. Although the review sugeested some weak aspects of the exhibition, it did make me feel intrigued about it.

When Tchaikovsky traveled to America in 1891 he composed one of his works at Carnegie Hall’s opening concert and has ever since been commemorated as a “founding father” of the hall. In celebration of the 120th anniversary, yes, it is THAT long time ago, of that opening, a city wide festival lauding the ingenious composer was organized last May by the hall, dubbed “Tchaikovsky in St. Petersburg.” The commemoration continues on October 5th, featuring music, ballet, exhibits, and a panel discussions focusing on New York musical culture at the turn of the 20th century. The odd thing is that even though New York City is indeed a center of arts from all over the world, as evident in the expected presence in the show of St. Petersburg’s Mariinsky orchestras and the effervescent Valery Gergiev, the representative of a New-York-City-inspired classical performance is deprived in an New-York-City-based festival. Let’s hope cellist Yo-Yo Ma be ready to fill the void of american under-representation.

As we proceed into newer generations, paperback books are becoming somewhat of an outdated source for reading. Like many households that have replaced big-boxed televisions and computers with flat television and computer screens, the e-reader and other technological devices have replaced the old form of books.

Amongst the most popular devices is the Kindle e-reader.  The Kindle allows you to purchase and read books on a screen without the hassle of turning pages. It is “the biggest-selling e-reader” and of course it cannot stay on top unless it offers the best resources.  That is why Kindle has now made library e-books available to its customers. Library e-books allow people to borrow books online for up to two weeks. But there is a downside. E-book borrowing will defeat the purpose of e-book buying.

There is truth in this. Julie Bosman points out a good problem. With the purchase of an e-reader or the use of other technological devices to access readings, it is obvious these consumers do not have much care for the essence of a book. They are looking for the most convenient way. Now that there is a better, more efficient and cheap way to access books, why not take advantage of it? Although e-books are convenient and beneficial to the consumers, it will most likely have a negative impact on the publishing industry. Publishers will not earn what they deserve. While it may be easy and free of cost; a worthy piece of literature should be appreciated in its traditional form. Julie Bosman talks about the positive and negative issues which are very much agreeable.