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Library of Congress acquires Stephen Sondheim's papers and manuscripts

Library of Congress acquires Stephen Sondheim's papers and manuscripts

National Post2 days ago

When Stephen Sondheim visited the Library of Congress in 1993, he saw something that stopped him in his tracks. Mark Horowitz, a senior music specialist at the library, had prepared a selection of historical scores from its collection – including works by Brahms and Rachmaninoff – to show the acclaimed composer and lyricist.
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'The last thing I showed him was Gershwin's manuscript for 'Porgy and Bess,'' Horowitz said. 'That's when he started to cry.'
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The Library of Congress announced Wednesday that it has acquired the papers of the late composer, who died in 2021. Manuscripts and documents charting the creation of some of the most iconic and beloved musicals of the past 50-plus years – including 'Company,' 'Into the Woods' and 'Sweeney Todd: The Demon Barber of Fleet Street' – will now sit alongside 'Porgy and Bess' in the library's permanent collection.
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Sondheim's music and lyrics will be available for public viewing July 1, while the remaining letters, notes and more will be accessible later this summer. The treasure trove of notebooks, sheet music and letters illuminates the craft behind the eight-time Tony winner's relentless reinvention of the musical.
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'When it comes to theater makers in America in the last century, he's the Shakespeare,' said Matthew Gardiner, the artistic director of Arlington's Signature Theatre, which is known for its productions of Sondheim's musicals. 'It's so special to have these documents and lyrics and poems to see his process. [It's] a celebration of a life's work that changed an art form.'
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The library's acquisition of Sondheim's materials was decades in the making. Shortly after joining its music department, Horowitz arranged the show-and-tell with Sondheim, partially to persuade the composer to donate his manuscripts and letters to the institution.
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'After that meeting, he said he was going to change his will,' Horowitz said. 'He sent me a letter with a blowup of the language he put in his will about his papers coming to the library. I felt like, yes, I could breathe a sigh of relief now that [was] done.'
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Three months ago, boxes containing nearly 5,000 items began arriving at the library's Madison Building. The treasures included the program for 'By George,' a musical Sondheim wrote in high school, and documents from the creation of more celebrated musicals, such as 40 pages of potential rhymes for the song 'A Little Priest' from 'Sweeney Todd.' Even for a Sondheim fan like Horowitz, sorting through these notes and pages of sheet music was overwhelming. The papers, he said, illustrate the painstaking energy that went into a Sondheim composition.

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Fans criticize Beyoncé for shirt calling Native Americans ‘the enemies of peace'
Fans criticize Beyoncé for shirt calling Native Americans ‘the enemies of peace'

CTV News

time2 hours ago

  • CTV News

Fans criticize Beyoncé for shirt calling Native Americans ‘the enemies of peace'

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Historians scrutinize reclamation motive Beyoncé's recent album 'Act II: Cowboy Carter' has played on a kind of American iconography, which many see as her way of subverting the country music genre's adjacency to whiteness and reclaiming the cowboy aesthetic for Black Americans. Last year, she became the first Black woman ever to top Billboard's country music chart, and 'Cowboy Carter' won her the top prize at the 2025 Grammy Awards, album of the year. 'The Buffalo Soldiers play this major role in the Black ownership of the American West,' said Tad Stoermer, a historian and professor at Johns Hopkins University. 'In my view, (Beyoncé is) well aware of the role that these images play. This is the 'Cowboy Carter' tour for crying out loud. The entire tour, the entire album, the entire piece is situated in this layered narrative.' But Stoermer also points out that the Buffalo Soldier have been framed in the American story in a way that also plays into the myths of American nationalism. 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Did 'bean mouth' really kill Pixar's Elio at the box office?
Did 'bean mouth' really kill Pixar's Elio at the box office?

CBC

time6 hours ago

  • CBC

Did 'bean mouth' really kill Pixar's Elio at the box office?

Social Sharing Why did Pixar's Elio put up the worst numbers in the studio's history in its opening weekend? The reasons professionals give for the sci-fi family movie's paltry $35 million US global box-office earning vary. But if you ask the internet, there's a far simpler issue at play. "Nobody wants the bean mouth style of character design," wrote one reader when commenting on a post-mortem of Elio 's bombing by the website Cartoon Brew. "It feels lazy, overused, and unoriginal." "The 3D CalArts 'bean mouth' style also just put a lot of people off," read a post on a Reddit thread about Elio 's failure. "Doesn't matter how good the story is, many people hate that animation style." The bean-mouth criticism is an opinion about Elio that's echoed across virtually every platform that allows comments: a one-to-one connection between character design and the audience's decision to stay home. More than that, it's become synonymous with an almost vitriolic hatred for a particular and supposedly ubiquitous art style. Animation journalist John Maher calls it a "pejorative and insult" that far outstrips the style's reach and misunderstands its origin. "It is a reflexive internet criticism," said Maher, the news director for Publishers Weekly. "People found a term that was snappy and catchy and easy to use. And so they hung onto it." Where bean mouth began The terms "CalArts style," "bean mouth" and "thin-line animation," all have different origins and meanings, but they all generally refer to a drawing technique exemplified by thin line-work, simplified features and bean-shaped mouths and heads. When it comes to how the "CalArts style" name came to be — Maher and others often point to Ren & Stimpy creator John Kricfalusi. Starting in the early 2000s, Kricfalusi wrote blog posts criticizing a particular style of art and derivative mentality he believed came out of the California Institute of the Arts — an influential arts and animation school founded by Walt Disney and his brother, Roy, in 1961. His criticisms were pointedly about the style championed by Disney, then copied to diminishing returns — including in movies like Treasure Planet and The Iron Giant. Though the animation in those movies looks nothing like what most people today think of as the CalArts style, the name stuck. And as many graduates of the school became associated with shows and movies that shared a similar bean-mouth design — including Elio, which has a pair of CalArts alumni listed as directors — the two names came to describe a common gripe. "That phrase has become a shorthand for a more fair criticism. Which frankly is: 'Animation as innovation rather than animation as imitation,' " Maher said. "But to call it all CalArts is just so silly and reductive and inaccurate — just fundamentally inaccurate." When asked if CalArts teaches the style, or even observes it in common use among students, Maija Burnett, the school's director of the Character Animation Program, says that's not the case. "Luckily, I can definitely dispel that," she said. "The results of the work from our program is extremely diverse. And so I do not think it typifies what comes from our programs at all." She also says it's unlikely that Pixar chose that animation style because it's cheaper, noting that the studio does most of its animation in-house, developed over years through huge teams, so they wouldn't need to default to any particular style an outside studio would find easier to work with. It's hard to say how pervasive the style is among Pixar movies. Typically only Luca, Turning Red and Elio have received the "bean-mouth" criticism. But Burnett says what people are likely identifying is an intentional technique studios employ. "Often, we can kind of tell like, 'Oh, yeah that seems like it's coming from Sony,' " she said, noting it's natural that Pixar would have a recognizable style because it's important to them both as a brand and as a studio. She says there's also likely a reason certain elements of the style are more widely used today. TV series, for example, often rely on animation techniques that work with contemporary technologies — such as the 1920s "rubber-hose" style of Felix the Cat, the "flash" animation of the early 2000s seen in Canada's 6teen, or the simplified "limited animation" style of Hanna-Barbera, the studio behind The Flintstones that essentially birthed a movement of low-budget animation in the '60s and '70s. As animation techniques progress, Burnett says they'll likely change again to fall in line with new technologies. She also notes that every art form and industry has eras where the output shares similar characteristics: from cubist paintings, to art deco architecture, to postmodern literature. The idea that the bean-mouth style is somehow more pervasive today might be related to nostalgia, she says, noting that the CalArts style was first identified around the time that social media became popular, making it one of the first animation trends to be subject to wider internet scrutiny. Finding like minds to discuss the art you grew up with gives people something to bond over, she says, and so does being able to name and shame the style that seemingly replaced it. Other issues plaguing Elio But box-office analyst Paul Dergarabedian says the look of animated movies is rarely the most important factor in ticket sales, making it unlikely that's what sank Elio. 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Your daily horoscope: June 28, 2025
Your daily horoscope: June 28, 2025

Globe and Mail

time10 hours ago

  • Globe and Mail

Your daily horoscope: June 28, 2025

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