As the COVID-19 pandemic shutters businesses across the country, millions of people have been laid off, resulting in a historic surge in unemployment claims. On April 13, the state officially began accepting claims from previously ineligible workers, such as independent contractors, gig workers and self-employed people.
However, according to a request filed by The Daily under the Freedom of Information Act, since April 10, the state has sent 251,884 messages through its online unemployment application system and via physical mail with a “no employer selected” error to Michigan citizens who filed as self-employed.
As a high school student, I remember asking my friends if they’d be interested in coming with me to various classical music concerts. We’d dress nicely — not too nicely, of course — and sit in the faraway student-ticket sections of incredibly high-end concert venues. We’d turn off our cell phones and disconnect from our Internet-based high school lives. It was the only occasion in which we would choose to forget about social media and virtual interaction for hours at a time.
As you can probably tell from my byline, I’m The Daily’s community culture columnist. As I wrote in my application two years ago, my column focuses on “the intersection between history, culture and the performing arts.” I’ve spent the past two years analyzing performances I’ve attended in Ann Arbor and beyond. I’ve written about everything from “Mean Girls” to “Le Marteau sans Maître.”
Is it possible to revive a staple of the Broadway repertoire while staying true to the original production? And if not, should revivals instead strive to forge new ground? Is there a point at which a revival is too groundbreaking to be a revival, at which the revival must be understood as an entirely new creative product?
This past week, as the media hype continued to build around the Roundabout Theatre Company’s upcoming Broadway production of Tony Kushner and Jeanine Tesori’s “Caroline, or Change,” I found myself reanalyzing and reconsidering this complex work.
“What could Tina Fey possibly hope to achieve in this next version of ‘Mean Girls?,’ I asked myself. I had just read the news of Fey’s newest venture: a movie, based on her musical, based on her earlier movie.
The atmosphere before Saturday night’s Minnesota Orchestra concert at Hill Auditorium was electric. The orchestra was dressed in white-tie attire, the choir in black ties. This was the University Musical Society’s first performance of the decade in Hill Auditorium. It was an all-Sibelius concert conducted by Finnish conductor (and noted Sibelius enthusiast) Osmo Vänskä.
This past weekend, I happened upon an old recording of composer Ted Hearne’s “Word for Word” for large orchestra. In the interest of full disclosure, I should note that the piece was premiered by the New York Youth Symphony in 2011 under the direction of Paul Haas, a former composition teacher of mine.