The Daily Parker

Just two of note. First, on this day 21 years ago, Al Gore conceded the 2000 election to George W Bush. Good thing that made almost no difference at all in world events.

Another anniversary is the one that happens every January 1st to works of art created a certain point in the past. A whole bunch of books, films, and musical compositions pass into the public domain as their copyrights expire, including:

• The Sun Also Rises and Winnie-the-Pooh, both published in 1926;
• The works of Louis Armstrong and Jim Morrison, who died in 1971 (except in the U.S.); and
• All musical recordings made before January 1, 1923.

Have fun adapting!

We're all set to perform Handel's Messiah tomorrow and Sunday, which got noticed by both the local news service and local TV station. Otherwise, the week just keeps getting odder:

• Monkees singer-songwriter Michael Nesmith died today at 78.
• Consumer prices rose at an annualized rate of 6.8% in November, the highest rate in 39 years.
• Catherine Rampell wonders who would ever design a political system like ours.
• Kate Riga explains the dog-whistle Justice Amy Coney Barrett (R) used in last week's oral arguments on the Mississippi abortion ban.
• The UK has imposed an Ultra Low Emissions Zone in most of greater London, imposing an eye-watering £12.50-per-day toll on anyone who brings in a car that fails to meet their emissions standards.
• A jury convicted actor Jussie Smollett of faking his own hate crime for...reasons? Dave Chapelle has the best take on this (from 2019).
• The Writers Guild of America has released their updated list of the 101 best screenplays of the 21st Century (so far).
• The Federal Aviation Administration has issued an Airworthiness Directive on the reliability of radar altimeters near 5G mobile phone transmitters.

And to cap all that off, the National Weather Service has announced a Hazardous Weather Outlook for tonight that includes...tornados? I hope the weather gets better before our performance.

Having a day off with no real responsibilities gives me the space to take care of some niggling projects I've put off for a while. First, I finished updating a document for the Apollo Chorus that lists every sit and stand cue and every score marking for our Messiah performances. That took about 8 hours altogether.

I also updated my main NuGet packages to .NET 6. As a nice bonus, because of a quirk in how .NET assemblies get versioned, today's release is version 4.2.8000. (I kept the previous release active just in case someone needs it for an existing .NET 5 project.)

Oh, and I've got a pot of stew going that should finish in about an hour. I made a lot of it. I hope it freezes all right. Good thing I have tons of Mason jars. It looked like this at 3½ hours:

In the "how old do I feel now" department for this week, fifty years ago today, Led Zeppelin released their fourth album:

Led Zeppelin‘s fourth album is variously known as Led Zeppelin IV, Untitled, Four Symbols and Zoso, but its true title is formed by the four unpronounceable symbols chosen by each band member. Page did that to retaliate against writers, including several in Rolling Stone, who’d snubbed the band’s music: “After all we had accomplished, the press was still calling us a hype. So that is why the fourth album was untitled.” He also refused to give any interviews for a period of 18 months.

Thus, one of the best-selling rock albums of all time (23 million copies in the U.S., at last count) was fueled by the bandmates’ resentment; they were victors who felt like underdogs. The gatefold album design had no photos or band information, which was “professional suicide,” one industry expert warned Page, but it only added to the album’s – and group’s – still-enduring air of high-school-hallway mystery.

At first, the essence of Led Zeppelin seemed to be brutality. It was a “very animal thing, a hellishly powerful thing,” in Plant’s words. Then fortuitously, in the next decade, each band member developed his own unique power. Plant added questing lyrics to his high, keening wails of abandon. Page emerged as one of rock’s most adventurous and imaginative producers, and turned out epic guitar riffs like he was an assembly line. Jones played every instrument short of the kazoo, fortifying and expanding the band’s weaponry and arrangements.

Fifty years later, the album still rocks. It's on my playlist for today, right after my 2pm meeting.

671 days.

The Apollo Chorus of Chicago last performed in public on 15 December 2019, 671 days ago. This morning we performed at the Chicago History Museum, outside, without masks, to an audience of about 100 people.

It is absolutely wonderful to be performing again.

The cool, sunny weather helped, too. And the decision not to wear tuxedos.

Today marks the 150th anniversary of the Great Chicago Fire, which burned for two days and left 100,000 people homeless. But only for a short time; by 1874, when the city had a second big fire, our population had already grown by about that number.

Flash forward to now:

• Time Out rated Chicago's Andersonville neighborhood second-coolest in the world, after Nørrebro, Copenhagen, and beating out Leith in Edinburgh; Chelsea in New York City; and Dublin 8, just to name three.
• A pre-pandemic article from the Australian Broadcasting Company (ABC) provides some context about why the Australian Navy decided to sink its deal with France in favor of buying submarines from the US and UK. Hint: Australians do not like people coming 15 minutes late to 30-minute meetings.
• CTA Red Line service paused briefly this week when a huge crane toppled into an alley. One person had minor injuries. No word on whether the mishap will set back the RPM project at all.
• David Brooks warns against the essentialist mindset, but of course someone like him would. (That was a joke, y'all.)
• Andrew Sullivan defends Dave Chappelle.

Finally, last night I attended an actual live theater performance for the first time in 19 months, and it was amazeballs. If you live in Chicago, right now you need to go to the Chicago Shakespeare Theater website and buy tickets to As You Like It, which plays through November 21st.

Today might be the last hot day of the year in Chicago. (I hope so, anyway.) While watching the cold front come through out my office window, with the much-needed rain ahead of it, I have lined up some news stories to read later today:

• My alderman got attacked on Saturday a couple blocks from my house by a well-known local vagrant.
• Josh Marshall believes US Senator Kyrsten Sinema (D-AZ) has no plans to run for re-election.
• In related news, CNN explains what happens to all the rats when a hurricane squishes through New York.
• Once again, Netflix and the other streaming services won most of last night's Emmys.

And finally, Metallica has an unexpected show tonight at Metro Chicago, about two kilometers from my house. Tickets are $20. I hope people show up for my board meeting tonight.

It's another beautiful September afternoon, upon which I will capitalize when Cassie and I go to a new stop on the Brews & Choos Project after work. At the moment, however, I am refactoring a large collection of classes that for unfortunate reasons don't support automated testing, and looking forward to a day of debugging my refactoring Monday.

Meanwhile:

• Melody Schreiber praises the "radical honesty" of President Biden's new mask mandate, while Josh Marshall praises its good politics.
• Andrew Sullivan finds an overdue skewering of Woke Elite culture in HBO's The White Lotus.
• Pilot Patrick Smith remembers 9/11 and reflects on how it changed many of the wrong things. Spencer Ackerman draws a line between 9/11 and 1/6.
• Robert Daniels really did not like Dear Evan Hansen. But Edwin Rios really enjoyed the new Candyman.
• Arthur Brooks warns that the "soul mate" narrative causes a lot of damage.

And now, more refactoring.

Local restaurant review show "Check Please," which was to begin its 20th season on the local public-television station WTTW, will instead end its run after the station proposed contract terms that the producers couldn't accept:

I'd like to say our upcoming 20th milestone season will be our best one ever!  However, WTTW/11 and I want to go in different directions and pursue other opportunities, so it's just not to be.

Crain's has more:

The show's last contract ended in the spring of 2020, just as the pandemic forced restaurants to close. Manilow said they started new discussions about a month ago and in the last week, WTTW presented him with a new contract and he said it was so different, it didn't make sense for him to continue the relationship.

"We talked about some different ideas they had. They were so drastically different that I'm not going to get into the details," Manilow said. "There wasn't much room for negotiation. We tried but it didn't work out. If they had done what we've done the last 19 years, we'd be in production now. That's just a fact and that's their prerogative. From a fundamental standpoint, every other renewal was kind of pro forma and they'd renew."

My guess, informed by years of dealing with non-profit arts organizations, is that WTTW misunderstood how pricing and microeconomics work.

Arts organizations have a tough time making money, because (let's face it) most people don't value them highly. So there's a large supply of arts organizations and small demand. If you graph supply and demand, where they meet is the equilibrium price (where curve D1 and S meet):

If you charge more than P1, you will sell less, and probably make less money. In order to sell more (move from Q1 to Q2), demand has to move first (D1 to D2).

Unfortunately, many arts organizations try to balance their budgets by increasing prices, believing demand to be constant. Someone whips out Excel and plugs in some numbers, and voilà! Instant revenue!

But that doesn't work, and it's easy to see why.

We sell tickets to Händel's Messiah for $35 to $70, depending on the section. We have a good idea how many we sell every year in each section, so we have some confidence in our budgeting. But imagine we found out that, say, a deadly disease would require us to have an empty seat between each person in the audience, meaning we could only sell half the number of seats.

So we plug everything into Excel and figure that we can sell half as many seats for twice as much money. Cool!

Except no one wants to pay $140 for a seat at our performance. They might pay $75, but at that price would many other people would shift from the orchestra level to the balcony, so we'd wind up with even less money.

I imagine that WTTW looked at their budget and figured that they needed to pay "Check, Please!" a lot less in order to keep their books in balance. And the producers of "Check, Please!" said no, we're not adjusting our prices to help you balance your books; we can take our product elsewhere.

We'll see. It's sad when this sort of thing happens, and I wish more arts organizations would recognize that they need people with business skills in management. I expect "Check, Please!" will do just fine online.

In a few minutes I'm hosting only the second in-person thing my chorus has done in the past 18 months: our last board meeting of the summer. We're all set to start in-person rehearsals on the 13th, though we will probably have to wear masks until our performances. That'll be weird—but at least we'll be in the same room.

Other choruses in Chicago have the same challenges:

“COVID shut us down completely because singing is a superspreader event,” said Jimmy Morehead, artistic director for the Chicago Gay Men’s Chorus. Immediately, they canceled all shows and in-person rehearsals.

But they set virtual rehearsals for the same time, hoping to provide connection.

“The twofold reason why people join the chorus is to either just sing, or make friends, and so we wanted to make sure that people didn’t feel alienated and didn’t feel isolated,” Morehead said. Everyone shared what they did that week, what they watched on Netflix or what they cooked.

In person, Morehead was used to being able to give quick feedback. On Zoom, “I have to trust and hope and pray that they’re learning and doing everything correctly.” The Chicago Gay Men’s Chorus pulled off live online shows, where people performed from their home.

Some of our singers also perform with CGMC, and I've talked to Jimmy a couple of times during the pandemic. We are all overjoyed to get back to rehearsals, even if it means proof of vaccination and big ugly masks.