It’s had audiences dancing in the aisles since 2001, but Mamma Mia! is still the name of the game. The ABBA musical, which is set to close on September 12 at the Broadhurst Theatre, continued its record-breaking streak by once again playing its highest grossing non-holiday week since moving to the space in November 2013 (from the Winter Garden Theatre). It was also the third highest frontrunner on the Main Stem by capacity. Though its box office bump could be indicative of another extension, the stage adaption of Misery is set to begin performances in the theater on October 22. At $932,929, the tuner was short of reaching seven figures, but 12 shows did break the $1 million mark this week, including perennial box office favorites (including The Lion King), Main Stem mainstays (such as The Phantom of the Opera) and Broadway newcomers (including Hamilton).Here’s a look at who was on top—and who was not—for the week ending July 26:FRONTRUNNERS (By Gross)1. The Lion King ($2,408,501)2. Wicked ($2,002,632)3. Aladdin ($1,831,846)4. The Book of Mormon ($1,505,083)5. An American in Paris ($1,429,500)UNDERDOGS (By Gross)5. On the Town ($476,502)4. Hedwig and the Angry Inch ($405,108)**3. It Shoulda Been You ($404,467)2. Hand to God ($339,642)1. Amazing Grace ($297,904)FRONTRUNNERS (By Capacity)1. Fun Home (103.13%)2. The Book of Mormon (102.58%)3. Mamma Mia! (100.80%)4. Hamilton (100.47%)*5. Matilda (100.05%)UNDERDOGS (By Capacity)5. Hand to God (73.30%)4. Jersey Boys (72.86%)3. It Shoulda Been You (72.43%)2. Amazing Grace (56.40%)1. On the Town (54.66%)* Number based on seven preview performances**Number based on six regular performancesSource: The Broadway League Related Shows Show Closed This production ended its run on Sept. 12, 2015 Mamma Mia! View Comments
A Black coach, Aliou Cisse, made the case for the African campaign at the FIFA World Cup with a defiant performance as Senegal’s Teranga Lions outfought Poland to record the continent’s first victory in Russia.The win rewrites a tale of four defeats for African teams as Senegal becomes Africa’s bandwagon of hope.Senegal played traditional African soccer -fast and furious, bulky and serious – and kept things as simple as 4-4-2.True, the first goal needed a deflection and the second needed some poor Poland communication to find Niang breathing down the neck of a nervous defender to steal the ball into a wide empty net. But Senegal deserved their luck.The Senegalese relied on physique to paper over faulty technique and used a cocky confidence to paper over the psychological burden of knowing the African trend in Russia has been losses. Niang was put through on goal in the 18 minute after Sabaly darted inside from the left to leave a futile Poland chase. But the Torino man wide shot exposed poor technique.A 33minute cross saw two Polish defenders go up to deal poorly with the header as a lurking Senegalese attacker saw the ball roll out.A defender, Sane, knocked down his free header from a fine corner as he could not quite ready his head enough to give the keeper any headache.Poland got their half-chances too but bodies blocked lone striker Lewandowski so that his 23 minutes shot if it were accurate would have been tamed by the bodies. But his shot went wide.Niang who wasted his 11minute chance now acted as a provider. Once again his reliable strength won him a challenge on the left. He fed a pass to Sadio Mane who played as a deep-lying forward, collecting the ball from deep positions to work his way into dangerous channels. He decelerated and found an accelerating Gueye storming into the box where Liverpool great Steven Gerrard is usually favoured to rocket in a shot.Gueye’s speculative low shot was well read by Juventus goalkeeper Szczensy but it deflected off Cionek who placed his hands over his head as the ball rolled into the net.Poland returned to gain a 49minute freekick at the edge of the box after Sane obstructed Lewandowski run into the 18 yard area.With every African side losing via set pieces, Lewandowski’s freekick was palpitating enough for every Senegalese concerned.Good technique to lift the ball over the wall but perhaps not enough power to stun the goal keeper Khadim N’Diaye who would be glad to make the catch. Poland’s attack was quenched frequently as crosses were headed out and an intimidating presence made sure the assault on the ground was grounded.Unlike Tunisia, Senegal did simple things. A polish attack breakdown before a Senegalese defender deep in their half, he kicked it out, another player headed it further to the center half where Krychowiak backpassed it long.But Niang had been standing out on the touchline after receiving treatment and when he was beckoned by the referee to join the game, he zoomed in on a defender who had not made up his mind on how to deal with the backpass. Sczcesny rushed out to close down Niang but the Senegalese brawn, raw power weathered the challenge as he sped off with the ball for the simplest of finish into an empty net in the 59minute. Poland attacked Zielinski low shot went wide and Kownacki header did not work the Senegalese keeper hard enough.Milik found himself inside the box but his shot into the near post spinned off narrowly.A freekick far wide and flying across bodies was well directed into the net by Krychowiak for a 87minute goal to give the Polish three minutes and four of injury time to claw back into the game. Two goals for Senegal and a response from Poland was a cue to shut down the game and when Mane had his chance to run inside the box, he danced on the ball to run down the clock until time confirmed the Africans the first to win in Russia.Polish attacker Arkadiusz Milik would remark after the game, Senegal built a wall and we were not able to jummp over it”. He was right.
adam popescu Tags:#twitter#web A Comprehensive Guide to a Content Audit Guide to Performing Bulk Email Verification Claiming a desire to deliver “a more consistent Twitter experience,” today the San Francisco company announced a laundry list of changes, many of them vague, to how developers can access tweets, prompting outrage, confusion and frustration from the third party developers who piggyback on the microblogging site’s ecosystem. Many view the change as the latest move from the company towards tightening its grip and owning the platform, a move that will eventually choke out and steer users to only use Twitter’s own apps. The days of popular third-party services like Tweetbot and Echofon may be numbered. For others, it means manpower and time in order to change. Alex Benzer, the founder and chief executive of PHP social network software maker SocialEngine, and social inbox site FanMix isn’t looking forward to the changes. “It’s going to require energy and it’s not ideal,” Benzer said. “We’re going to have to register for an API key which isn’t that big of a deal, but we’re going to have to make it work.”Benzer said he’s more concerned about his FanMix site, a Gmail like service for social networks, collecting all your social conversations and email, into one unified inbox. Right now FanMix users can sign in with their Twitter accounts, which uses Twitter’s API.“Basically it (FanMix) pulls in all your tweets and mentions of you and displays them,” he said. Today’s move by Twitter threatens that model. “It’s obviously a move for a more restrictive API,” he said. Today’s move will stop public developers from writing script that gets data from Twitter. “That signals a shift in the company’s direction. The general feeling is that they want people to use Twitter and not apps built on Twitter.”Bottlenose CEO Nova Spivack took to Twitter to vent this afternoon. He swayed from angry to acceptance and back again, seemingly by the minute. Not long after that tweet, he wrote “Information wants to be free. Twitter is going against the tide. The music industry couldn’t stop it from happening. How will Twitter?”Brian Norgard, the founder of social video site Chill sees today’s move as the logical step in Twitter’s move towards owning the field. He says the writing on the wall was clear to see, several months ago. Twitter has gone from being a toy, to being one of the most powerful media companies on the planet, he said.“You’re dancing with the devil when you’re building on top of another platform,” said Norgard. He thinks the move was done to maintain control. “If you’re going to do something core, like reading tweets, Twitter is going to probably want to control that aspect of the business.”Norgard says his site won’t be affected, but says “I feel for a lot of developers.”Still, he tempered that by saying the changes have happened before and will happen again, citing Photobucket building on the back of Myspace. “Twitter’s not the first, won’t be the last.” Related Posts The Dos and Don’ts of Brand Awareness Videos Facebook is Becoming Less Personal and More Pro…
PremiumBeat stepped behind the lens with cinematographer Michael Franks to discuss his insight on technology, and how to create the cinematic look.Whether it’s lighting mountain ranges, live sketch comedy, or Disney favorites, Michael Franks approaches each project with a fresh mind and an eye for story.Hannah Montana (Buena Vista Television).PremiumBeat: Michael, you’ve worked on some of the most iconic Disney shows, including Jessie, Hannah Montana, and That’s So Raven. Is there a Disney “look,” or have you found each show was approached differently?Michael Franks: I have worked on a variety of projects for Disney, Nickelodeon, Amazon, and other networks. I enjoy approaching each project with an open mind, discovering what the needs of the show are, and how we might best serve them. Each show presents unique opportunities for me to create a specific look for that project. The costumes, production design, in addition to the lighting approach, and camera and lens choices all affect the final look of the show. It’s a collaboration, and we discover together what the look will be.PB: You’ve won two consecutive Emmy Awards for lighting ESPN’s Summer and Winter X Games, what goes into creating the look of the live coverage?MF: The X Games I got to work on from the 1st Winter Games in Big Bear, and then the 2nd Summer Games in San Diego — starting in 1997. My involvement grew over the years. It started with creating the look for the host areas that were quite extensive in the early X Games, and then my work grew from there.One of the largest undertakings was when I suggested we light the backgrounds for the night coverage for the Winter X Games in Aspen. There was no inherent night lighting for Aspen mountain. So, with my team, we devised a comprehensive plan to light the mountain, the tree lines, and put color behind the on-camera talent. Much of the background just showed up as black on camera, previously.This proved to be more challenging than we thought! Trees that looked twenty-feet tall in our survey photos turned out to be 300-feet tall, and lighting the backgrounds meant dragging cable, lights, and other equipment — with snowmobiles — for thousands of feet! In the end, it was worth it though. The producers were happy, and we continued to do that for a few years at the Aspen Winter X Games.Michael Franks. All That (Nickelodeon Network).PB: As cinematographer of Nickelodeon’s All That, what challenges do you face in filming fast-paced, high-standard sketch comedy?MF: My time on SNL really served me well with the reboot of All That. With All That, one of the things we must be is flexible, spontaneous, fast, and good! I think that’s one of the things I find most appealing (as I did with SNL) is working under a very tight schedule. It pushes our creativity to come up with ideas and solutions we might not think of otherwise. On a weekly basis, we are lighting sometimes eight to ten new sets (we counted over seventy-two sets we lit over a ten-week schedule). Some sets are set up overnight Thursday, and we light and shoot them on Friday. It’s an intense schedule, but I find it appealing. I couldn’t do it without a great crew, which I feel lucky to have. These women and men . . . I get to work with each week, are absolutely fantastic.One of the other challenges is to give the show a high-quality look, given the time frame. I was asked to give the show an “upgraded” look. We work very hard to give each sketch a look and feel that’s specific for the sketch, and we resist lighting the show in a formulaic manner. Sometimes, as with the movie A Silent Place, which was a spoof of the movie A Quiet Place, we got to do a very specific and dramatic look. I was asked by the director, Jonathan Judge (who I enjoy collaborating with), to create a single-camera look, and he had planned very specific camera angles that we could light to. This was a lot of fun to create something unusual, while working within the time constraints of having actors that are minors in a multi-camera schedule.We use a lot of the new technology that’s available to us now, which helps us with the process of being nimble, while creating the extremely varied looks we are asked to create. We utilize the latest automated lights for our music segments and wireless LEDs, as well as conventional equipment for our sketches. It’s a great time to be working — the technology in both camera and lighting has come such a long way. We have the tools now to create bold, interesting looks that were much more difficult and time-consuming to create in the past.Sigmund and the Sea Monsters (Amazon Studios).PB: Amazon’s Sigmund and the Sea Monsters is a re-imaging of the 1973 original children’s hit show. Were you mindful of the look of the original, or were the storytellers interested in an updated, modern feel?MF: For Sigmund and the Sea Monsters, I was asked to create a wholly different look than that of the original. Amazon set the bar high, and I was asked to create a “feature-quality look” that was much more cinematic than what was done originally. I, again, got to collaborate with Jonathan Judge to create the new look for the current version. We shot the show single-camera on the ARRI ALEXA, and created sets on location for the pilot and onstage for the series.We were conscious to create a look that was current, as well as paying homage to the original. We wanted the environment to feel like we’re in a real place, where these sea monsters then inhabit. We were thrilled that Amazon liked what we did in the pilot, and then picked up six more episodes. It was a lot of fun to shoot this series.Michael Franks. All That (Nickelodeon Network).PB: Any general or specific advice you’d give a young cinematographer when navigating the work or the business?MF: Never stop learning, and be kind. Technology continues to advance, and it’s important for the cinematographer to know what tools are available to them, but the aesthetic is what’s important. The technology is there for us to utilize to create the vision.I also think it’s important to be kind and help each other grow and move forward. It’s a unique business because it’s a craft that I feel needs to be learned and shared. But, it can be a cutthroat business too, and we can easily lose the human kindness in that. I like what Steve Jobs said, “Stay hungry, stay foolish.” Don’t lose sight of why you want to do this work!Cover image via Amazon Studios.Looking for more industry interviews? Check these out.Industry Insights: The Man in the High Castle’s Cinematographer Gonzalo AmatInterview: Composer Chad Cannon on the Obamas’ Higher GroundIndustry Insights: “Better Call Saul” Production Designer Judy RheeComposer David Schwartz on VEEP, The Good Place and Arrested DevelopmentThe Editor of “Us” on Working with Jordan Peele and the Horror Genre