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The SF Ballet Blog has an interview with the new Executive Director, Kelly Tweeddale: https://sfballet.blog/2019/in-conversation-with-kelly-tweeddale/ "You have led symphony orchestras and an opera company throughout North America. What is your impression of the ballet world? Even though I’ve spent most of my career in the fields of orchestra and opera, I actually discovered the world of performing arts through dance. I studied ballet in college and worked for an improvisational dance company through a work-study program. The way that ballet seems to defy physics, by being controlled and exuberant at the same time, and how movement connects music with emotion, is something that we all need in an era where our world has become as small as the devices that we hold in our hands. I think dance gives us peripheral vision; it is three-dimensional and almost forces us to look up, take notice, and see what happens beyond our screens and ourselves..."

A rather long segment (for Instagram) of Kochetkova performing David Dawson's Styx in the studio: https://www.instagram.com/p/B11NUe9hYTs/ There may be a second part to this video still to come...

We all have our favorites, and we all have our bugaboos. But if they consistently get in the way of appreciating an art form, and film is a very complex art form, then there's a problem. The stage makeup issue (readily apparent on the Bluray version) is quite literally a superficial one. There are people who claim to not be able to appreciate Buster Keaton's The General because Keaton's character is a Southerner. There are people who won't watch The Planet of the Apes because the apes' upper lips don't move - "it ruins the effect!" Whatever. Does anyone actually believe Dustin Hoffman as a Beverly Hills prince (and college track star!) in The Graduate? Once you become aware of things like cinematography, lighting, special effects, staging and costumes, script writing, acting, direction and the host of little things that make a production work, or not, then individual flaws are relatively easy to dismiss as what they are: little flaws. Disliking CinemaScope, Cinerama and that type of thing is a different sort of issue from makeup and costume, but there's always something to be learned from the viewing experience. I can't help but be reminded of the time, long ago, my mother and I went to see the re-release of Abel Gance's Napoleon in Polyvision with a tryptich of screens - it wasn't easy to watch that way, but the film was fascinating and emotionally stirring. It may have only been the film's finale that got the special treatment - it's been too long for me to remember the details. The "Greatest Films of All Time" lists continue to change as the decades wear on. It always depends on who you talk to. The interesting thing is how much variation there is between knowledgeable people (such as film directors, or critics) in the films that they admire most: https://www.slashfilm.com/quentin-tarantino-martin-scorsese-woody-allen-francis-ford-coppola-michael-mann-list-movies/ (scroll down a bit to see the director lists)

I've been poking about to try to find some early pancake tutu references, but haven't been very successful. Wherever the pancake tutu originated, it likely wasn't with the Ballet Russes or Balanchine. I can't recall any examples of Balanchine ballets that use pancake-type tutus - only instances of the powder-puff tutu developed by Karinska and Balanchine, and even the classical tutu used by many companies for Diamonds looks to me to be a powder-puff tutu as designed by Karinska. Maria Tallchief danced the role of Sanguinic in the early version of The Four Temperaments: https://nycdancestuff.files.wordpress.com/2013/08/tallchief-2.jpg Maria Tallchief in one of the early Firebird tutus (this version looks like a pancake tutu): https://media.gettyimages.com/photos/maria-tallchief-in-the-firebird-1960-picture-id588458867?s=2048x2048 Tanaquil Le Clercq and Jerome Robbins in Bourrée Fantasque, 1949: http://cinephil.com/wp-content/uploads/2016/08/TL0526.jpg Tanaquil Le Clercq in Balanchine's Jeux D'Enfants, 1955 (this could be considered a pancake tutu): https://i.pinimg.com/originals/00/55/b0/0055b0d2b9a7f16560d028a6252a8b4c.jpg Melissa Hayden in Stars and Stripes costume (a possible pancake tutu): https://upload.wikimedia.org/wikipedia/commons/4/41/New_York_City_Ballet_in_Amsterdam%2C_repetitie_New_York_City_Ballet._Choreograaf_George_Balanchine_geeft_aanwijzingen.jpg Suzanne Farrel in Symphony in C costume: https://images.nypl.org/index.php?id=swope_782011&t=w Jewels tutus, 1967: https://blogpnborg.files.wordpress.com/2017/09/balanchine-paul-verdy-mcbride-farrell-cr-edwardpfizenmaier.jpg

A great example, Kathleen - "influence" can mean a great many things, and doesn't have to result in an artist being a clone or "light/junior" version of the original artist. All artists absorb many, many influences over the course of their lives, and those influences may impact personality, techniques used, the kind of people one spends time with, hobbies and side interests, anything.

Thanks to Madison Keesler for mentioning this online: DanceFAR (Dance For A Reason) "DanceFAR’s 2019 performance will be held at the beautiful Herbst Theater in San Francisco, California on Saturday, September 7th, 2019 benefiting the @theirc (International Rescue Committee) and @gugulethuballetproject. This performance will include ten of the Bay Area’s most celebrated dance companies and will feature works from today’s top choreographers. DanceFAR 2019’s proceeds not only benefit the immediate needs of refugees, but also provides education and opportunities to empower impoverished youth through dance." Tickets are available at CityBoxOffice.com http://www.dancefar.org/ "DanceFAR was founded in 2012 by former San Francisco Ballet dancers Garen Scribner, James Sofranko and Margaret Karl to support the work of the Cancer Prevention Institute of California and has raised over half a million dollars for cancer research and prevention. Past DanceFAR performances have featured dancers from the San Francisco Ballet, Alonzo King LINES Ballet, Smuin Ballet, ODC/Dance, Robert Moses’ KIN, Margaret Jenkins Dance Company, Nederlands Dans Theater 1, Hubbard Street Dance Chicago, American Ballet Theater, and Broadway’s An American in Paris, among others. After a short hiatus, DanceFAR will return to the Herbst Theater organized by San Francisco Ballet dancer Steven Morse. The performance will be held at the Herbst Theater on September 7th, 2019. Participating Bay Area dance companies will include San Francisco Ballet, Alonzo King LINES Ballet, Smuin Ballet, Amy Seiwert’s Imagery, AXIS Dance, Diablo Ballet, SF Danceworks, ODC/Dance, Menlowe Ballet and Post:Ballet."

That's the general problem with dancing in the Corps de Ballet - the audience isn't going to see a lot of distinct personality in the dancing. The whole point of the Corps is to dance and appear as one uniform mass of perfection/loveliness/whatever. But there aren't many chances to develop a distinct approach to anything. That's why the audience is often surprised by the new soloist - I've never seen her/him dance like THAT before! Powell was dancing full out on a high level in every role I saw her in last season. She definitely proved herself (which was a relief). But I had been keeping an eye on her progress as I knew that Tomasson was a believer - she was on the fast track until she suffered a serious injury to her foot (at about the same time that Vanessa Zahorian suffered the same kind of injury). So Powell spent almost a year out of the public eye trying to recover. Major injuries just take the momentum out of everything, but unfortunately they are here to stay in the world of dance. When Dores Andre was promoted to Principal she danced with a whole other level of confidence and flair, so these promotions can make a big difference in how a dancer feels about his/her self and career. [Lizzy Powell was Clara at the time of the SFB DVD filming, so she's probably the most high-profile Clara for that reason.]

I think the Classical Tutu was a 20th century development. And the Classical Tutu apparently comes in Bell or Pancake forms, and the Pancake Tutu can refer to at least 3 different sub-styles: the Pancake tutu, the Platter tutu and the Karinska/Balanchine/Powder-puff tutu (created for Symphony in C ballet ). It's all about the construction. I'm not sure when the pancake was designed/invented - if there was a particular ballet associated with it. It would be fascinating to know...

Nice examples, Syzygy - it's just a shame that the Late Show stage doesn't provide the appropriate backdrop/ambience for An American in Paris. Such is life. But Colbert's show is making an effort so kudos to them.

There's certainly a harmful side to TV shows always presenting ballet segments in a stereotypical, mocking style. If things had carried on in the manner of Dance in America and the Canadian Broadcast System ballet programs, we would now be seeing excerpts from pieces like Ratmanksy's Shostakovich Trilogy, Odessa, or even Whipped Cream; Peck's Rodeo, In the Countenance of Kings, Decalogue; the latest William Forsythe/Pite/McGregor/Marston/Wheeldon works; a selection from Sara Mearns at Jacob's Pillow, etc. The possibilities are seemingly endless. Jimmy Kimmel in a tutu doesn't quite suffice. I guess we're back to a resolute need to steer clear of anything 'serious' or artistically involved with any TV ballet presentations. And yet, every night, the evening talk shows have music acts that come from various genres of popular music (some of them seeming quite 'edgy' and bizarre to the older audience), and those acts are not preceded by explanation or apology of any sort. The musicians appear and play and that's it. The show hosts don't feel pressured to interpret anything for the benefit of the audience. The music is simply accepted (or you can just turn the channel). Imagine if The Tonight Show ended with a ballet excerpt from Pam Tanowitz’s Four Quartets…

SFB has sent out another reminder of upcoming ballet-related events, and it all sounds like fun. [I'm quoting from the SFB announcements below] Ballet + Film + Television Starting Sep 22, we're covering everything from dance films to live streams in three interactive sessions. Hear from former SF Ballet dancers about what it's like dancing for film, plus delve into the history of American ballet on film and TV. Pick your favorite topic, or join us for all three—tickets are just $35. https://www.sfballet.org/season/events/balletinsights Life Behind the Curtain Ballet Basics gives you everything you need to appreciate a night at SF Ballet. On Sunday Oct 20, take a ballet class, hear from an artist, and learn all about the history of classical ballet. https://www.sfballet.org/season/events/ballet-basics-1020 See the First Ever Clara Panel What was it like to dance in the first full-length production of Nutcracker in 1944? On Sunday Nov 3, hear from the original cast members, a Nutcracker expert, and Claras through the years in a one-day event diving into the history and legacy of this iconic ballet. https://www.sfballet.org/season/events/Exploring-Nutcracker/ Nutcracker wasn’t always an American holiday tradition. Seventy-five years ago, SF Ballet Artistic Director Willam Christensen made it one with the first performance of a full-length Nutcracker in the United States, right here in San Francisco. In celebration of that anniversary, join Nutcracker expert Jennifer Fisher, PhD, members of the original 1944 Nutcracker cast, and Claras from throughout the years for a one-day event diving into the history and legacy of this iconic ballet. Features Hear from noted Nutcracker expert Jennifer Fisher, a professor at UC Irvine Learn about what it was like to participate in that very first 1944 Nutcracker from Janet Sassoon and Joan Vickers, both original cast members See the first-ever SF Ballet “Clara Panel,” and discover what kind of impact Nutcracker had on several remarkable women I wonder if soloist Elizabeth Powell will be on the Clara Panel?

I'm afraid I've become sensitized to "1st World Problems" as well. ;) But it seems to be human nature to look for increasingly nuanced complaints for every little thing and every possible situation. I just had yet another argument with my relative who likes the idea of mixing two types of rice together to add 'interest to the organic brown rice. But, adding a small amount of Hinode Black Rice turns all the rice a purple color which really bothers her. It tastes good, its nutritious, but its a purple color, so it's worth whining that maybe that's not the best solution (even though everyone likes the taste and texture). "But the rice is purple! Look how dark it is!" I've lived through this same reaction 5 times now, because the problem doesn't go away until the Hinode rice gets used up (at least the food is being eaten and not simply thrown away). But what an imposition to have to eat purple-colored rice, again! Live on a 7 bedroom estate in the Virgin Islands with 8.5 bathrooms, indoor and outdoor living spaces, billiards room, home theater and separate caretaker’s residence, and, a 360-degree views of bays and islands? "Do you realize what a pain it is to maintain this estate and deal with all the hired help?!" One interesting/positive thing that has come out of this GMA blowup - there have been many, many posts by dancers, male and female, talking about their own early experiences tying to be accepted as ballet dancers, or just dancers. We now get to hear from a very wide-range of dancers on their backgrounds. By the way, I really recommend the Hinode Black Rice.

Once upon a time Hollywood was all about dance and musicals. Even Clark Gable and Jimmy Stewart were forced to sing and dance once or twice. As Balanchine observed, Americans didn't need ballet when they had Fred Astaire. But the days of old Hollywood and musicals is long over. I'm sure Benjamin Millepied and his company would like to be the center of attention in LA, but interests are very, very scattered in Southern Cal.

My kingdom for a bullet train! Sadly, not in this state/country. Even in a relatively small region such as the Bay Area, there's lots of different cultures playing off against one another. Not necessarily interested in sharing anything. I remember that early in Tomasson's tenure he was promoting the idea of SFB going to Southern Cal to perform on a regular basis (sort of like NYCB going to Saratoga New York), but it never really happened. I can imagine there is intense 'political' pressure in So Cal not to allow companies from _________________ (fill in the blank) take up partial residence in LA where there are still dreams/fantasies that LA will be the dance powerhouse of North America. From the audience stand point its about seeing high-level performances, but for the movers and shakers behind the scenes, its mostly about power and control. The same sort of thing goes on between SF and San Jose area big money arts supporters.

I haven't seen the restored version on the big screen either. Just to see one of the great transition shots in all cinema - Lawrence blowing out the match/sunrise on the Arabian desert - gives me goosebumps thinking about it. ;) I had a great time seeing the restored Wizard of Oz on the big screen, so I think this will be equally fun...

Lucky you, Buddy. Mitchell kind of made up for her absence at Woodstock by appearing on the Dick Cavett show around the same time (her manager had booked her for the Cavett show thinking that would be more important than having her appear at the festival): The sitting around and talking part: https://www.youtube.com/watch?v=y-yzV5gKvGg Mitchell's performances on that show were first rate: https://www.youtube.com/watch?v=8zEi7uJxP68 https://www.youtube.com/watch?v=KvHhQpAelto As far as the British female musicians I mentioned that all owe a debt to Mitchell... Maddy Prior and Steeleye Span perform Weill and Brecht's "The Black Freighter": https://www.youtube.com/watch?v=jIIUmw0LN_w Jacqui McShee and Pentangle perform Light Flight: https://www.youtube.com/watch?v=itjFfz079f8 Judy Dyble with Giles, Giles & Fripp (birth of the band King Crimson) https://www.youtube.com/watch?v=bfqXh5s4t4k Judy Dyble with original Fairport Convention lineup (pre-Sandy Denny) https://www.youtube.com/watch?v=uXgvNZdzYNw June Tabor - Hughie Graeme https://www.youtube.com/watch?v=0lQD_oy5ko0 June Tabor - A Place Called England https://www.youtube.com/watch?v=0-gchaUT6Ac June Tabor and Maddy Prior - The Grey Funnel Line https://www.youtube.com/watch?v=vHOokpi9hUw Annie Halsam with Renaissance - Northern Lights https://www.youtube.com/watch?v=CIEqdXpG5Pg Another admired singer of the classic rock/folk era: Anne Briggs - Go Your Way https://www.youtube.com/watch?v=vS81zHrOB74 EDIT: I almost forgot about Linda Thompson…yikes! Richard and Linda Thompson - A Heart Needs A Home https://www.youtube.com/watch?v=HqViJyweNV0 Richard and Linda Thompson - Withered and Died https://www.youtube.com/watch?v=Gg-HNSJoo7M Linda Thompson - Nursery Rhyme of Innocence and Experience https://www.youtube.com/watch?v=BNYsoqYazl0

My memory isn't very good (!), but I think it was just general areas - North Bay (Marin, Sonoma), East Bay (Oakland, Berkley), South Bay (San Jose and maybe Palo Alto?). And I don't remember if there was a Southern California option (think 1 week residency near LA), but I don't think so.

Mitchell was hugely influential on these female musicians and definitely inspired many a girl to try writing her own material. One of the more talented imitators: Shelagh McDonald - City Cry https://www.youtube.com/watch?v=kHSVc8cq_As Remember this one? For years the only version of Mitchell's "Eastern Rain" anyone knew was recorded by Sandy Denny and Fairport Convention: https://www.youtube.com/watch?v=jZ1nlWHQTf4

LOL - well no publicity is bad publicity, right? "500,000 ballet dancers gathered at Times Square New York to take class, coinciding with the 50th anniversary of Woodstock…"

For cinema buffs who love seeing their favorites on the Big Screen - there will be a limited release of David Lean's Lawrence of Arabia on September 1st & 4th, 2019: https://www.fathomevents.com/events/tcm2019-lawrence-of-arabia-1962/theaters

Blue is often considered to be a classic of the singer-songwriter genre. I would also choose Hejira for its classic sound and memorable lyrics - a true sonic masterpiece (the song Coyote in the video above was on Hejira). A bit off topic, but if you can appreciate Joni Mitchell then you can likely appreciate the great Sandy Denny (or any of the early Fairport Convention music): Sandy Denny - Solo https://www.youtube.com/watch?v=2zVeqcz5X3g Sandy Denny and Fairport Convention - Who Knows Where The Time Goes https://www.youtube.com/watch?v=DeZL2FXkGqI Sandy Denny and Fairport Convention - Farewell Farewell https://www.youtube.com/watch?v=O8_eFRZP1uQ Denny came to prominence at an amazing time - she one of a whole group of great British folk-rock singers, such as Maddy Prior, Jacqui McShee, Judy Dyble, June Tabor and others…

Thanks Buddy - I've seen that one previously: I've watched a number of "Fil from Wings of Pegasus" analysis videos over the past year or two. They're pretty entertaining. (I also recommend Rick Beato's song analysis videos as well, as he has a great personality and lots of musical knowledge and experience). There's some early Joni Anderson (Mitchell) Folk TV performances on Canadian TV that are great. It's immediately noticeable what a rare bird she was in comparison to the other folkies and their "good time" renditions of traditional songs. Her song writing style was remarkably developed in that early period. Urge for Going (1966): https://www.youtube.com/watch?v=vLu2-gG68S0 All the performances beginning in 1965: https://www.youtube.com/watch?v=abtBjHVAe08

I totally agree that overlapping programs makes it much more likely that I will attend (from out-of-town). Being able to see 6 different ballets in one visit (sometimes with multiple casts) is great. Unfortunately for story ballet lovers, these overlaps are only really possible with mixed rep programs that require little in terms of stagings. We're not likely to ever see overlapping Midsummer Night's Dream and Romeo & Juliet programs, for example.

Today's Instagram post by SFB: "In our studios today are more than three dozen male Company dancers, as well as choreographers, teachers, students, musicians—and our director Helgi Tomasson, who had a renowned performing career. These talented artist/athletes have dedicated their lives to ballet, and we’re grateful that they persevered despite challenges raised by outdated gender stereotypes and a lack of understanding of the rigor and professionalism of the art form. We hope Prince George’s love of dance will last a lifetime, despite the opinions of adults like @lara.spencer and we welcome the conversation raised in response to her derision." https://www.instagram.com/p/B1hSFM7j9bu/

It's certainly hard on the dancers, and audience members who can't attend much at that time of year. The downside of the year-round schedule is that dancers really wouldn't have much free time to plan other things (including dance appearances elsewhere). They would be given lots of short breaks (presumably), but no long vacation period. SFB manages to keep the dancers busy most of the year with the current schedule, so I don't see how establishing a year-round schedule would help matters for the company. It seems to me that spreading out the season somewhat, and providing longer rehearsal and rest periods for the dancers would be best for everyone. But there are always going to be conflicts with other art events and sport events. At least San Francisco isn't dealing with the level of conflicts and cacophony one sees in New York.