The New Yorker is tweaking its graphic design and layout, starting with the event listings (“Goings On About Town”) in the front of the magazine. I’m not qualified to critique fonts, but I have noticed that there are fewer items in the classical music listings than there used to be with the old layout. Maybe its too early in the season to say for certain, but cutting the number of items listed is distressing. You know that the big players – the Met, the Philharmonic, etc. – are never going to be dropped from the listings, which means there will be considerably less room for, say, that new music concert at Miller Theatre or (le) poisson rouge. This is bad news for the classical music culture as a whole, including the big guys – narrowing the conversation doesn’t do anybody any good.
My other New Yorker item this week is this from an article about EDM in Vegas. One artist discussed is named Afrojack, and here he is working on his songs with a colleague:
Afrojack liked the vocal line, but he wasn’t sure about the song’s structure. “It’s a thirty-second verse, a thirty-second pre-chorus, and a thirty-second chorus,” he said. “Is that right for a radio song?”
“You don’t go by time,” Preston said. “You go by bars.”
Afrojack cocked his head. “What’s ‘bars’?”
According to the article, Afrojack earns $150,000 a night. I think my fee for an elementary music theory tutoring session just went up to $150,001.