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...pages) embeds the theft within more workmanlike prose and the larger story of how Paris police were struggling in the early 20th century against a world of gangsters and anarchists. Unfortunately, the authors of both books have decided to pad out their texts by resurrecting an utterly unsubstantiated version of who might have been behind the heist. (The Mona Lisa mystery: Pregnant? Disgusted...
...nostalgia, but Gen X isn't far behind. In early April, Sony reissued four physical editions of Pearl Jam's 1992 album Ten at four price points. Each offered improved sound, a separate remix album, a DVD and thoughtful, creative packaging born of collaboration with the band. (A digital version without the extras is also available.) More important, Block's team reached out to Pearl Jam's fans and asked specific questions about what they wanted. In their first week of release, the various Tens combined to sell 55,000 copies - including an astonishing 10,000 of the $199 collector...
...does the right selection. Most reissues are by acts with rabid fan bases (U2 put out a souped-up version of The Joshua Tree last year; Bruce Springsteen recently announced plans for a new Darkness on the Edge of Town) that have both cash and nostalgia in abundance. Rap? Not many reissues. The Grateful Dead? Too many to count. Older bands fare better for technological reasons; advances in transferring music from analog to digital mean that most records from the '70s and '80s sound demonstrably better, even to amateur ears. "That's a big selling point," says Adam Yauch...
...Matthew Perry) who gets to inhabit his cool teenage self (Efron) - could be the title of the young star's career. As basketball stud and dance master Troy Bolton, he headlined three editions of Disney's High School Musical: two wildly popular TV specials and a movie version that earned $251 million at the world box office. He also co-starred in the hit film Hairspray, a savvier, '60s high school musical...
...manage to salvage the concerto’s explosive conclusion.After Friere’s encore rendition of Gluck’s “Dance of the Blessed Spirits,” which was just as tame as the main performance itself, Sung led the orchestra in the 1945 version of Aaron Copland’s “Appalachian Spring,” a ballet written on commission by dancer/choreographer Martha Graham. While the BSO attacked Copland’s syncopated rhythms with crisp precision and settled upon key symphonic harmonies in layers of perfect intonation, the distinctively optimistic...