Stage Floor Research Articles

Dosimetric comparison of postoperative interstitial high-dose-rate brachytherapy and modern external beam radiotherapy modalities in tongue and floor of the mouth tumours in terms of doses to critical organs.

The aim of the study was to dosimetrically compare interstitial high-dose-rate (HDR) brachytherapy (BT) and modern external beam radiotherapy modalities, as volumetric modulated arc therapy (VMAT) and stereotactic radiotherapy with Cyberknife (CK) of tumours of the tongue and floor of the mouth in terms of dose to the critical organs. In National Institute of Oncology, Budapest, between March 2013 and August 2022 twenty patients (11 male/9 female) with stage T1-3N0M0 tongue (n = 14) and floor of mouth (n = 6) tumours received postoperative radiotherapy because of close/positive surgical margin and/or lymphovascular and/or perineural invasion. High-dose-rate interstitial brachytherapy applying flexible plastic catheters with a total dose of 15 × 3 Gy was used for treatment. In addition to BT plans VMAT and stereotactic CK plans were also made in all cases, using the same fractionation scheme and dose prescription. As for the organs at risk, the doses to the mandible, the ipsilateral and the contralateral salivary glands were compared. The mean volume of the planning target volume (PTV) was 12.5 cm3, 26.5 cm3 and 17.5 cm3 in BT, VMAT and CK techniques, respectively, due to different safety margin protocols. The dose to the mandible was the most favourable with BT, as for the salivary glands (parotid and submandibular) the CK technique resulted in the lowest dose. The highest dose to the critical organs was observed with the VMAT technique. The mean values of D2cm3 and D0.1cm3 for the critical organs were as follows for BT, VMAT and CK plans: 47.4% and 73.9%, 92.2% and 101.8%, 68.4% and 92.3% for the mandible, 4.8% and 6.7%, 7.3% and 13.8%, 2.3% and 5.1% for the ipsilateral parotid gland, 3.5% and 4.9%, 6.8% and 10.9%, 1.5% and 3.3% for the contralateral parotid gland, 7.3% and 9.4%, 9.0% and 14.3%, 3.6% and 5.6% for the contralateral submandibular gland. The present results confirm that BT, despite being an invasive technique, is dosimetrically clearly beneficial in the treatment of oral cavity tumours and is a modality worth considering when applying radiotherapy, not only as definitive treatment, but also postoperatively. The use of the CK in the head and neck region requires further investigation.

Death of a Salesman

Death of a Salesman

Death of a Salesman

Death of a Salesman

A Meditation on Loss

A Meditation on Loss

Elizabeth Bishop and the Art of Losing

Elizabeth Bishop and the Art of Losing

A Whole Carnal Stereophony: The Wooster Group Stages Brecht

A Whole Carnal Stereophony: The Wooster Group Stages Brecht

Application of vascularized mucosal flap for early-medium-term tongue cancer and floor of mouth cancer defect repair: a preliminary study.

This study aimed to assess the efficacy and safety of facial artery musculomucosal (FAMM) flap for small-medium tongue or floor of mouth defects caused by surgical resection of early-medium stage tongue or floor of mouth cancer. A retrospective cohort study was conducted and included patients with early-medium stage tongue or floor of mouth cancer and reconstructed by FAMM flap or traditional free or axial flaps. Demographic data and surgery-related data were collected. Patients were followed up for 6 months and evaluated with satisfaction, maximal mouth opening, satisfactory contour and speech, and oral intake function at months 3 and 6. Forty-five patients were included, with 15 in the FAMM group and 30 in the flap group. All patients finished 3 months follow-up, and 1 in each group was lost to follow-up at month 6. All followed-up patients had no recurrence or metastasis. The FAMM group had a significantly shorter surgical time than the flap group (P<0.05). The flap group had significantly more donor sites that were uncomfortable compared with the FAMM group (P<0.05). There was no statistical significance on satisfaction, but the FAMM group had better outcomes on contour, speech, and oral intake function at month 6 than the flap group (P<0.05). The FAMM group had smaller maximal mouth opening than the flap group (P<0.05) at month 3 but equivalent maximal mouth opening at month 6 (P>0.05). FAMM flap has some advantages for small-medium tongue or floor of mouth defects caused by surgical resection of early-medium stage tongue or floor of mouth cancer, and it could be an ideal choice for clinical application.

A Stained Glass Menagerie

A Stained Glass Menagerie Matthieu Chapman (bio) Winter 2012. La Jolla, California. I make my way across the University of California at San Diego campus to the La Jolla Playhouse to see our department's production of Tennessee Williams's The Glass Menagerie. Usually, Tennessee Williams is not my preferred fare, but my Black roommate was playing the role of Jim, Laura's gentleman caller. I had yet to see my roommate perform in person, and I was excited to see his work. The production ripped the excitement from my chest and replaced it with a cold discomfort. I don't know if the director engaged in color-blind, colorconscious, or some other form of racially focused casting or not. But I do know that Jim was the only character played by a Black actor. Seeing this Black man pursue this white woman in 1940s Saint Louis asked countless questions that the performance did not attempt to answer. I could not help but think of Cleo Wright, a Black man accused of making an advance on a white woman in nearby Sikeston, Missouri. On January 25, 1942, a white mob invaded the city jail and lynched Wright. I could not help but think of the 1917 East Saint Louis race massacre, where the white citizens of East Saint Louis murdered between fifty and two hundred and fifty Black residents and left more than six thousand homeless. Segregation, lynching, secession—Missouri's history is rife with anti-Black violence. Representation matters, both for better and for worse. Seeing Black bodies in diverse roles on stage and screen is a small but meaningful part of addressing centuries of oppression and violence. However, the American stage has long been a perpetrator of the violent erasure of Black bodies, Black voices, and Black thought. The modern American theatrical canon—the "classics" that theatres use to bolster subscription revenues and structure seasons—is a collection of early American greats such as Tennessee Williams and Neil Simon, [End Page 30] Golden Age musicals including Oklahoma! and The Music Man, and European imports ranging from William Shakespeare to Henrik Ibsen. With these giants still a fundamental part of the theatrical zeitgeist, theatre history is our theatre present. But not all history is created equal. From the Great White Way to the stage floors of the ivory tower, American theatre is the product of a nation built on anti-Black violence. Each of the examples given above, with or without explicit racism from the playwright, is a product of a world positioned in history alongside Jim Crow, Civil Rights, lynchings, and slavery. When we place plays from historical periods in which Black bodies were three-fifths of the way along the continuum that began with Blacks as nothing and still today has not reached full subject, we must be careful that our desire for representation doesn't reproduce false narratives of history that do damage to Black actors and audiences in the present. If we are not careful with our handling of America's and the world's histories of anti-Black violence, we risk our staging creating an irreconcilable antagonism in which our showing that "representation matters" proves that Black lives don't. If historiography is the study of the social, cultural, and political circumstances and biases that influence the creation of the historical record, we perform a historiographical exercise every time we stage a historical play. In our directing choices, we choose whose history, which version of history, and how to present that history to a contemporary audience. We are rewriting the history of that play in the present. At the same time, we are giving value to specific historical precedents. Casting, then, becomes an integral part of the historiographical process of the stage. We must strive to engage with difficult questions not only of the historical document but also of those whose histories escape the Eurocentric standards of historical documentation. Too often in our quest for inclusion and diversity in our productions, we create representations that damage the very lives we seek to include. How much of that history did the actor playing Jim have to ignore to "play the truth of the scene?" What...

The Seven Deadly Sins, by Wesley Savick, Micaleen Rodgers, and Sydney Grant

The Seven Deadly Sins, by Wesley Savick, Micaleen Rodgers, and Sydney Grant

Correlation between Duration of the Second Stage and Pelvic Floor Muscle Strength in Primiparous Women Following Vaginal Delivery and Caesarean Section

Correlation between Duration of the Second Stage and Pelvic Floor Muscle Strength in Primiparous Women Following Vaginal Delivery and Caesarean Section

Adaptation from Flooring Level of Stilt House in Sustainable Settlement Musi Riverside Palembang

The development of the Musi River edge house was influenced by the role of the river. The form of a house on the banks of the Musi river is a riverbank house and a stilt house. The choice to build a stilt house is inseparable from the land conditions in South Sumatra, which are generally wetlands. The level/height of the stage of the riverbank house is influenced by the condition of the house in the settlement layer, given the higher volume of water due to the denser density of the riverside houses. The high pole of the house is a form of adaptation to the high volume/tide of river water in the rainy season. One form of vernacular architecture on the banks of the Musi River is a sustainable home in the face of climate and weather in Palembang. The house on stilts or pillar houses is a sustainable alternative to the Musi Palembang riverbank community. The purpose of this study was to determine the trend of the adaptation of the stage floor height to the volume of water at the tidal currents of the Palembang Musi River. In achieving this goal, a study was conducted to identify architectural traces, explore activities and ideas of the Musi coastal communities. Data collection is done through field observations, in-depth interviews, and literature studies. Analysis was carried out qualitatively on variables, process characteristics, and products from identification of riverbank settlements. The results show that most of the houses on the banks of the river experience physical changes in buildings, both in terms of functions and building materials. Changes in the constituent elements of the house from wood material to permanent material occurred in most of the stilt houses on the Musi riverside settlement, resulting in riverside houses characterized by land houses.

Film Chronicle

Film Chronicle Jefferson Hunter (bio) Film Chronicle: Gold Diggers of 1935, directed by Busby Berkeley (Warner Home Video, 2006) The Band Wagon, directed by Vincente Minnelli (Warner Home Video, 2005) Invitation to the Dance, directed by Gene Kelly (MGM, 2011) Ballet, directed by Frederick Wiseman (Zipporah, 1995, and Kanopy streaming service) The Red Shoes, directed by Michael Powell and Emeric Pressburger (Criterion Collection, 2010) Pride and Prejudice, directed by Robert Z. Leonard (Warner Home Video, 2006) Pride & Prejudice, directed by Joe Wright (Universal Pictures Home Entertainment, 2006) Pride and Prejudice, directed by Simon Langton (BBC, 2019) They Shoot Horses, Don't They?, directed by Sidney Pollack (Kino Lorber, 2017). Sir John Davies's poem "Orchestra, or A Poem of Dancing," published in 1596, pays the definitive Renaissance tribute to Terpsichore. A representative excerpt: Loe this is Dauncings true nobilitie.Dauncing, the child of Musick and of Love,Dauncing it selfe, both love and harmony,Where all agree, and all in order move;Dauncing, the Art that all Arts doe approve:The faire Caracter of the worlds consent,The heav'ns true figure, and th' earth's ornament. On the page, Davies's iambic pentameter and ababbcc rhyme scheme—constituting the seven-line rhyme royal stanza invented by Chaucer—create a pattern not unlike the multiplied interweavings, symmetries, movements, and counter-movements timed to a rhythmic pulse which are formed by dancers on a stage or ballroom floor. "Orchestra" describes a harmonious order and simultaneously imitates it, thus giving double pleasure. Meanwhile Davies's claim for dancing as "the Art that all Arts doe approve" seems bold but persuasive, at least in the case of an art the poet was three or four centuries too early to know, the art of the cinema. Throughout its history film has approved the art of dancing by celebrating it onscreen, its exhilaration and orderliness, its commingling of love and harmony. Of course there are other modes of dancing—extreme, disorderly, possibly violent—and film has paid due attention to them (see, among many [End Page 126] other examples, the stylized gang rumbles danced to Leonard Bernstein's music in the film of West Side Story), but in this Chronicle, I will concentrate on the kind of performance which Davies's poem admires. Phrases of his like "th' earth's ornament" and "all in order move" immediately suggest the ornamentally patterned and elaborately synchronized choreography of American musical films from the 1930s and 1940s, above all the choreography of Busby Berkeley. The son of a silent-film actress, Berkeley began his career as a dance director on Broadway, then in Hollywood came to prominence when he staged the production numbers of Warner Brothers extravaganzas like Roman Scandals, 42nd Street, Footlight Parade, and the multi-film Gold Diggers series (today it would be called a mega-franchise). All of these are lightly plotted movies, showcases for performance, in which the likes of James Cagney or Dick Powell fall in love with the likes of Ruby Keeler, Joan Blondell, or Ginger Rogers, in the process doing a lot of singing and dancing, sometimes on a reasonable facsimile of a theater stage but more often in production numbers that may begin theatrically but soon depart into the boundary-less and sumptuously lighted space of pure cinema. For sheer flag-waving, synchronized, exuberantly costumed, no-expensespared choreography, Berkeley has never been equaled—at least until the era of televised Olympic opening ceremonies, which in their grand displays of massed forces dancing in unison and forming elaborate symmetrical patterns have become the Berkeley films' only real successors. Aficionados will have their favorites among Berkeley's dance numbers, say the "42nd Street" finale in the film of that name; or "By a Waterfall" in Footlight Parade, its chorus girls diving in a human cascade into a pool where they subsequently perform water ballet; or the at first quasi-documentary, then grandly patriotic "Remember My Forgotten Man" at the conclusion of Gold Diggers of 1933. My own favorite would be "Lullaby of Broadway," from Gold Diggers of 1935, a film which Berkeley directed as well as choreographed. Gold Diggers of 1935 offered Depression-era audiences well-dressed swank to admire...

Pratthana: A Portrait Of Possession by Okada Tosh

Reviewed by: Pratthana: A Portrait Of Possessionby Okada Tosh David Jortner PRATTHANA: A PORTRAIT OF POSSESSION. By Okada Toshiki; based on the novel by Uthis Haemamool, directed by Okada Toshiki. Tokyo Metropolitan Theatre, Theatre East, 2706– 707 2019. Staged as a part of the "Asia in Resonance" series and presented by the Japan Foundation Asia Center, Pratthanawas the result of an extended collaboration between Thai novelist Uthis Haemamool and Japanese playwright/director Okada Toshiki. Originally premiering in Bangkok, followed by a tour in Paris before being presented in Tokyo, Pratthanacombines Okada's physical actor vocabulary and strong visual style with Haemamool's powerful story of sexual experimentation and political dissidence. Staged in Thai (with Japanese and English subtitles), the play, although four hours long, was a fascinating examination of the multiplicity of ways in which issues of art, sexuality, freedom, politics, and responsibility (both political and personal) intersect. The play tells the story of Khao Sing, an artist who lives in Bangkok. Sing tells his model, Waree, about his past; he focuses on his sexual exploits from his dalliance with a poetess in the early 1990s to his polyamorous relationship with a female artist and a male video store clerk in 2006. The audience also sees the relationship between Waree and Sing set against the backdrop of the 2014 coup d'etat. The thematic linkage of sexual and political freedom is, of course, not new; one thinks of plays such as La Rondeand Spring's Awakening(both written in the 1890s) that also addressed these joint issues. What makes Pratthanaespecially interesting are the questions of responsibility, ethics, and [End Page 253]morality. Unlike the older texts which explicitly link sexual liberation and political freedom, Okada's play presents the ambivalence, selfishness, and fear as well as the bravery and creativity present in sexual liberation, artistic creation, and political activism. As with many of Okada's plays, the narrative is told by multiple actors; the actors often comment on their (or the others') character's actions. While this may initially sound distracting/disconcerting, in fact the result was that the play functioned as one extended story with all of the actors taking on narrative responsibility. The initial scene of the play, for example, combines narration with dialogue, shifting seamlessly between the two and moving from present to past while deftly illustrating the major ideas of the text. The narrator evokes the classical idea of Narcissus while the actor playing Waree poses; the play then jumps to Khao Sing's initial act of artistic rebellion when a teacher chastises him for painting with a stick instead of a brush. Within this brief scene the audience sees the themes of beauty, sexuality, art, and rebellion all presented in a multivalent style. Actors slip between roles of character and narrator with no significant transformation or semiotic indicator; while this may sound jarring, Okada's language allows for a flow between these roles. The effect is that the audience witnesses a multiplicity of storytelling forms which coinhere into a cohesive whole. In addition, as in much of Okada's work, the actors create characters and scenarios out of their physicality. The performers are exceptionally physically gifted; while the stage is relatively bare (the major set unit is a large ladder) the actors create powerfully moving sculptures out of their intertwined bodies which inhabit moments of powerful stillness and swift action. Some of the most powerful of these physically acted scenes involved moments of extreme sexuality and violence combined; an extended threesome sequence (where, it should be noted, there was no nudity onstage) involved bodies engaged and intertwining with sequences of slaps accentuating moments of passion. The scene was disturbing, sexual, violent, and extremely unsettling; it was also incredibly effective at physically representing the play's thematic ideas in a performative fashion. It also must be noted that this scene extended for some time with little or no dialogue other than the grunts of the actors, the slaps, and the sounds of their bodies hitting the stage floor. The extended time frame also forced the audience to acknowledge the power and ideas behind this staging as perception of the...

Det latente sted. Fra topografisk punkt til nô-teatrets scenerum

In the Japanese landscape, the traveller finds innumerable markings which locate historical events and actions, mythological incidents, natural disasters, etc. These ghost-ridden places are loaded with latent, supematural forces, and are the subjects of prayers and rituals from living people. On stage, the no theatre establishes such concrete topographic points from Japan’s cultural landscape. A specific type of no play is the mugen no, ‘phantom no’. As an example, this article describes the dramatic, aesthetic and scenic form of the play Tamura by Zeami Motokiyo (1363-1443). The no stage is an open cube with no specific scenography other than a few simple objects. The stage cube is placed according to the four points of the compass, intersected by imaginary horisontal and vertical lines which represent present time/this world and past time/the other world respectively. These lines meet in the latent place from where the story originales and which is central to no dramaturgy. The actors create a traveller’s vision of landscapes and incidents of the past into the empty stage space. Gradually the imaginary landscape expands beyond the physical stage and is later confined to a single spot on the stage floor where the performance ends up.

“One”

The robustness of the One building as the main building of Sa’o traditional house in Ngada Regency, Flores, has been proven to be reliable. The experience and testimony of indigenous people proves that when there was a shock in the area due to the earthquake and tsunami, the human victims who lived in traditional houses were the least number. The most severe damage occurred when Sa’o was shaken violently, until the One building fell to the ground. The One building is located on a stage floor made of wooden beams with split bamboo floor coverings. The stage floor is supported by wooden pillars or megalithic stone pillars. Floor and ceiling construction are tightly integrated with wooden columns and plank walls. The construction of the One building use wooden pegs, interlocking board walls, without nails or screw bolts, and tied thatched roof coverings. Therefore, inspired by the One building is the Ngadha architectural identity I designed the “One” model as a space box rescue from the earthquake and tsunami disaster. The goal is that when the disaster occurs, each family could save themselves to the “One” box rescue, close tightly for several minutes to avoid accidents and security threats from more severe natural disasters. The “One” prototype model must be tested for its strength, patented, calculated the technical feasibility, collaborated with industry, the government, and the local government.

How Do You Know a Mermaid When You See One? How Do You See a Mermaid When You Know One? A Photo Essay

How Do You Know a Mermaid When You See One?How Do You See a Mermaid When You Know One? A Photo Essay Tracy C. Davis (bio) In twenty-first-century Westernized culture, mer-creatures are currently understood to take a specific form: a human (usually female) upper body that becomes scaly from the hips downward, lacking legs or feet and culminating in a double-fluked tail. Prior to the Enlightenment, this was not the case: mer-creatures in illustrations and sculpture could be dual-tailed or, very often, take entirely human form, yet still be understood to represent the water spirits of seas, lakes, rivers, or wells. As the extraordinarily rich graphic collections of the Theaterwissenschaftliche Sammlung (TWS) of the Universität zu Köln demonstrate, the nineteenth-century theatre was crucial in reconciling the varied forms into one, particularly through two operas common in the Germanic repertoire: Albert Lorzing's Undide (1845) and Richard Wagner's Das Rheingold (composed 1853; first produced 1869). Unlike painting, sculpture, and literature, the theatre not only asserts the existence of mers in relation to the human world, but must depict them (through bodies, voices, and movements) via human performers. Whereas Lorzing did this through a non-tailed water spirit, Wagner envisioned tailed mermaids. Baroque spectacles utilized real water, with mythic and allegorical sea creatures moving on the surface. Romantic ballet dispensed with the real water and made water spirits etherealized creatures who moved on the land (and somewhat above the stage floor). Lorzing made a radical breach from both traditions by culminating Undine with a sequence in which the stage was (narratively) engulfed by water. This was the pretext for a transformation scene into the underwater realm of the Danube, revealing the throne room of sovereign beings who were the essence of water but otherwise looked and locomoted like humans. Wagner began his opera in precisely such a realm, with the three mermaid sisters of the Rhine deep in their water element. Elevated by machines (and after the turn of the century, suspended on wires), they appeared to "swim," with leg-hugging gowns and trains trailing below. In both operas, audiences recognized mermaids. These staging conventions, which included grottoes, water flora, and the refraction of light into water creatures' domain, were [End Page E-23] adopted into aquariums, which were popular from the mid-nineteenth century, and later explored in underwater painting and photographic techniques. The costuming conventions for mers, utilizing green and blue draperies, red coral accessories, and weed-like dripping hair and hemlines connected mers back to Germanic folklore and forward to twentieth-century interpretations of the iconic Hans Christian Andersen novel in animated film and staged versions. Their form, coloration, and movement are distinct from early twentieth-century revue figures of other (non-mythical) sea creatures that represent various kinds of fish, mollusks, and crustaceans. Not only nineteenth-century theatre audiences but also twenty-first-century consumers of mass media of all sorts have learned to recognize mermaids when they see them. Multiple instances of stage practice spread over decades amounts to a repertoire of intelligibility that guided the collective imaginary to understand and accept specific conventions, both of the tailed and non-tailed manifestations of mers. This supersedes changes in style—nineteenth-century pictorialism, modernist abstraction, and post-modern deconstruction—to consistently refer to cogent conventions of scenography, physiological form, and iconic silhouettes. In my print essay for the September 2019 (71.3) special issue of Theatre Journal on "Theatre and the Nonhuman," I explore the specific stage innovations and conventions for depicting female water spirits (naiads, Nixe, Meerjungfrauen, mermaids, and all the other names by which these creatures are known), emphasizing the importance of German-language theatre in putting these figures onstage into environments and costumes that accommodate locomotion as well as habitus. This establishes the patterns and precedents still in use in the twenty-first-century theatre; Disney's adaptations of Andersen's tale demonstrate the now-global reach and intelligibility of these practices. This photo essay expands the imagery offered in print and allows readers to see the importance of color as well as depth in both scenography and costuming. Much more can be explored...

Spaces to Fail in: Negotiating Gender, Community and Technology in Algorave

Algorave presents itself as a community that is open and accessible to all, yet historically, there has been a lack of diversity on both the stage and dance floor. Through women-only workshops, mentoring and other efforts at widening participation, the number of women performing at algorave events has increased. Grounded in existing research in feminist technology studies, computing education and gender and electronic music, this article unpacks how techno, social and cultural structures have gendered algorave. These ideas will be elucidated through a series of interviews with women participating in the algorave community, to centrally argue that gender significantly impacts an individual’s ability to engage and interact within the algorave community. I will also consider how live coding, as an embodied techno-social form, is represented at events and hypothesise as to how it could grow further as an inclusive and feminist practice.

Acoustical balance between the stage and the pit in the Teatro Colón of Buenos Aires

The acoustical balance between the singers and the orchestra in the well-known Teatro Colon of Buenos Aires, as an opera theatre, is evaluated from several perspectives. Among the many particular features that contribute to the ideal balance of Teatro Colon, there are three which seem to stand out: the shape of the horseshoe, the height and depth of the boxes at the upper levels, and the design of the proscenium and pit. In this sense, the reflections on the stage floor become significant for the higher levels. Some of the architectural causes of this acoustical behavior have been found out from the results of opinion polls on the perceived sound by the audience, physical measurements and the outcomes of a digital model. This paper analyzes the balance between the singers, placed in various locations on the stage, and the orchestra in the pit. As it will be seen, the architectural characteristics of the theatre allows the musicians to maintain the balance in almost ideal values and to preserve the spectral equilibrium through the entire hall.

Rewriting Participation

For his project Everett Ghost Lines, the Japanese author and director Takuya Murakawa writes letters to friends, loose acquaintances, or foreigners, asking them to come to a theatre venue on a designated day at a designated time and perform an action: Sit on a chair and wait for someone who will cut your hair. Stop by the theatre during a run, and lie down on the stage floor next to a duct-taped silhouette. Stand in front of a microphone and tell the audience a story about the sea … The performance starts as scheduled and runs for its full time, whether the letters’ addressees appear or not. The audience gets to read the script, which is being projected on the rear wall of the stage. Written words, thus, fill in for absent performers. Writing assists performance instead of claiming the status of an origin or original inspiration. Thanks to text taking on the role of a temp, an odd hand helping out, Murakawa is able to produce a collective artistic work from the casual, noncommittal, notoriously unreliable relations that make up much of our everyday life. His approach presents an organizational alternative to subjecting art to the sovereign power that is effective in procedures of casting and assures the authority of the legally binding contract, while it also avoids the socio-economic management of networking, which instrumentalizes intimate relations and their emotional intensity in order to generate peer pressure and make ‘free’ cooperation compelling.

City Profile: Prince's Minneapolis

Notebook ON APRIL 21, 2016, a chain-link fence in a Minneapolis suburb became a monument. At Paisley Park in Chanhassen, purple flowers and balloons, stuffed animals, handwritten signs, and other tributes adorned the gate in a final salute to the great musician and singer, Prince. Minnesota’s love for Prince is boundless. Minnesota Public Radio’s KCMP named Purple Rain number four on its list of most essential albums, Prince number two among its most essential artists, and “Purple Rain” number one as its most essential song—but, if tuning into its broadcast isn’t a concrete enough experience of Prince’s imprint on the city, then you'll find it at the nightclub he brought to fame, First Avenue & 7th Street Entry. Also the filming location for the movie Purple Rain, First Avenue & 7th Street Entry encapsulates Minneapolis’s music scene, from local artist performances to headline tours to the yearly parties celebrating Prince, Bowie, and other classic ’80s rock. The massive stage and vast dance floor are never empty and always radiate the passionate energy of music lovers. Even from the outside, First Avenue stands out—530 silver stars are painted on the walls, each with the name of an artist who has played the club. The lone gold star holds the crown jewel: Prince. After snapping a picture with Prince’s star, head over to his favorite record store, Electric Fetus, a prominent location among indie record fans that turned fifty in June. Examine its collection of albums and artists , soaking up the various takes on rock, punk, pop, and R&B. While in Uptown, the eponymous neighborhood of the Prince song, swing by 26th Street and Hennepin Avenue to see the Prince Tribute Mural, a piece of public street art commemorating the musician’s life. To see Minneapolis’s final memorial to its beloved musician, you have to leave the city proper and go out to Chanhassen. Just beyond the Chanhassen Cinema—which, too, has a tributary mural painted on the outside—you’ll get to Paisley Park Studios, the former residence and recording studio of Prince and current museum of his musical legacy. A tour starts in the atrium with live doves and a Paisley Park–shaped urn of Prince’s ashes. It continues through rooms dedicated to his biggest albums and feature films, a hallway of his awards, and even the recording studio where you get to hear a brief segment of music never publicly released. Finally, you see the giant black-box auditorium, the private-party lounge, and—after eating a quick bite from Prince’s personal menu—a rotating piece of that chain-link fence. The museum cycles through displaying different segments, but each one shows the personal gifts from the countless individuals who gave back their love after decades of Prince giving their city his. Prince’s legacy continues to define the Minneapolis music scene in many forms: tourists traveling from across the country to see the Paisley Park museum, young artists such as Childish Gambino and Minnesota ’s own Janelle Monáe playing their Prince-inspired albums on the airwaves of KCMP (aka The Current), or First Avenue overflowing with music fans during the annual “Let’s Go Crazy” tribute. As long as music thrives, Minneapolis will never forget its Prince. James Farner is a WLT intern studying English writing and religious studies at the University of Oklahoma. In his free time, he’s either listening to a podcast or working on The Aster Review, an OU student arts publication. He grew up in and around Minneapolis and is one of the frequenters of First Avenue who left flowers at Paisley Park after Prince died. Editorial note: For more, see Farner’s Minneapolis reading list in the takeaway insert at the end of this issue. city profile Prince’s Minneapolis by James Farner PRINCE MURAL: TMILLERPHOTO/FLICKR. MINNEAPOLIS PHOTO: TONY WEBSTER WORLDLIT.ORG 5 ...