Some context: Sheldon Gary Adelson (pronounced ; born August 4, 1933) is an American business magnate, investor, and philanthropist. He is the founder, chairman and chief executive officer of Las Vegas Sands Corporation, which owns the Marina Bay Sands in Singapore, and is the parent company of Venetian Macao Limited, which operates The Venetian Resort Hotel Casino and the Sands Expo and Convention Center. He also owns the Israeli daily newspaper Israel Hayom and the American daily newspaper Las Vegas Review-Journal. Adelson, a lifelong donor and philanthropist to a variety of causes, also founded the Adelson Foundation in 2007, at the initiative of his wife, Miriam.
In 2007, Adelson made an unsuccessful bid to purchase the Israeli newspaper Maariv. When this failed, he proceeded with parallel plans to publish a free daily newspaper to compete with Israeli, a newspaper he had co-founded in 2006 but had left. The first edition of the new newspaper, Israel Hayom, was published on July 30, 2007. On March 31, 2014, Adelson received the go-ahead from a Jerusalem court to purchase Maariv and the conservative newspaper Makor Rishon. In 2016 Adelson's attorney announced that he does not own Israel Hayom, it is owned by a relative of his. According to a Target Group Index (TGI) survey published in July 2011, Israel Hayom, which unlike all other Israeli newspapers is distributed for free, became the number-one daily newspaper (on weekdays) four years after its inception. This survey found that Israel Hayom had a 39.3% weekday readership exposure, Yedioth Ahronoth 37%, Maariv 12.1%, and Haaretz 5.8%. The Yedioth Ahronoth weekend edition was still leading with a 44.3% readership exposure, compared to 31% for the Israel Hayom weekend edition, 14.9% for Maariv, and 6.8% for Haaretz. This trend was already observed by a TGI survey in July 2010. In 2011, the Israeli press said that Adelson was unhappy with coverage of him on Israeli Channel 10, which alleged that Adelson had acquired a casino license in Las Vegas inappropriately through political connections. The channel apologized after Adelson threatened a lawsuit. This led to the resignations of the news chief, Reudor Benziman; the news editor, Ruti Yuval; and the news anchor, Guy Zohar, who objected to the apology. After two months of deliberations, the Israeli Second Authority for Television and Radio ruled that although there were some flaws in the manner in which the apology had been conducted, the decision to apologize had been correct and appropriate.
Did he make changes at the paper?
A: Adelson received the go-ahead from a Jerusalem court to purchase Maariv and the conservative newspaper Makor Rishon. In
Some context: Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnar's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right.
A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013.
What else was said about it?
A: It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013.
Some context: Sun Ra (born Herman Poole Blount, legal name Le Sony'r Ra; May 22, 1914 - May 30, 1993) was an American jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. For much of his career, Ra led "The Arkestra", an ensemble with an ever-changing name and flexible line-up. Born and raised in Alabama, Blount eventually became involved in the Chicago jazz scene during the 1940s. He soon abandoned his birth name, taking the name Sun Ra (after Ra, the Egyptian God of the Sun) and developing a complex persona and mythology that would make him a pioneer of Afrofuturism: he claimed he was an alien from Saturn on a mission to preach peace, and throughout his life he consistently denied any ties to his prior identity.
According to Szwed, Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time. Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks. But by the heyday of Black Power radicalism in the 1960s, Sun Ra was expressing disillusionment with these aims. He denied feeling closely connected to any race. In 1970 he said: I couldn't approach black people with the truth because they like lies. They live lies... At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them... Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake up." Sun Ra is considered to be an early pioneer of the Afrofuturist movement due to his music, writings and other works. The influence of Sun Ra can be seen throughout many aspects of black music. He grounded his practice of Afrofuturism in a musical tradition of performing blackness that remains relevant today. Sun Ra lived out his beliefs of Afrofuturism in his daily life by embodying the movement not only in his music, but also in his clothes and actions. This embodiment of the narrative allowed him to demonstrate black nationalism as a counternarrative to the present culture. It was in Chicago, as well, in the mid-fifties, that Ra began experimenting with extraterrestriality in his stage show, sometimes playing regular cocktail lounges dressed in space suits and ancient Egyptian regalia. By placing his band and performances in space and extraterrestrial environments Sun Ra built a world that was his own view of how the African diaspora connected.
What did Ra say the blacks should do?
A:
This embodiment of the narrative allowed him to demonstrate black nationalism as a counternarrative to the present culture.