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July 31, 2007

Philip Kaufman and Mike Hodges on Bergman

Two wildly versatile and talented international filmmakers, Mike Hodges (Get Carter, Flash Gordon, Croupier) and Phil Kaufman(The Right Stuff, The Unbearable Lightness of Being), paid tribute to the inspirational qualities of Ingmar Bergman yesterday.

Mike Hodges: He had the ability to take subject matter that was so horrendous and present it in a way that was hypnotic. Persona was truly mind-blowing in in its material but because it was presented in such a different way I found it absolutely amazing. The same with Cries and Whispers. Sometimes he would change the way he presented whatever he was grappling with, and I would be so impressed. He was exorcising his demons and in some way making them your own. He was such an amazing filmmaker, that anyone who imitates him is a fool. I like Woody Allen when he's himself, but not when he's trying to emulate Bergman. Try to emulate Bergman, and you won't be successful.

I worked with Max von Sydow on Flash Gordon, and he was kind of extraordinary on something that was such a souffle. He loved doing it; he had a great sense of humor. It was freeing for him to play Ming the Merciless. But I kept  looking at him and wondering, what is he doing working with me?

Philip Kaufman: When we were getting ready to film The Unbearable Lightness of Being with Sven Nykvist, we screened one of the great films he shot for Bergman, The Silence, and he said he never appreciated how good a movie it is -- and it's a near-perfect film! They had that Swedish way of doing a job and moving on.

There was a bipolar thing going with Fellini and Bergman in the film world: they had mutual admiration, but neither approached the other's style. Fellini worked off of bouyancy and kinds of films we were familiar with. Bergman was in his own solitary psychoanalytical style and world, but he could pull it off the way no one else has because of his elegance, timing, lighting, and the incredible closeups of his actors.

Barry Gifford on a David Lynch script out of Bergman

Yesterday, novelist, essayist and screenwriter Barry Gifford confessed that an Ingmar Bergman film gave him the idea for the script to David Lynch's cult favorite, Lost Highway:

Bergman's Hour of the Wolf was actually a film I kept in mind the whole time I was writing Lost Highway. The whole idea of a man having apparitions appear to him -- if you ever see Hour of the Wolf, it becomes the film on that, and it jumped into my head as soon as I began Lost Highway and never left. I don't know if it was the best of Bergman's stuff, but it was a true inspiration. Of course, I don't know if David Lynch ever saw it.

Emmy-winner Lamont Johnson eulogizes Ingmar Bergman

Lamont Johnson, director of American film classics such as The Last American Hero and American TV classics such as The Kennedys of Massachusetts and Wallenberg, also spoke to the Sun yesterday about Bergman. Here are some excerpts:

Everything thrilled me about his originality and his incredible mind; the whole creative bent that he had was unique, nobody else was like him. He transcended being a director. He kind of a mystic, in a curious way.

I loved when he counterpointed depth with humor: I adored the wonderful scene in Fanny And Alexander when the little boy is cursing as he watches the funeral.

For directors, he was an ideal. I tried on occasion to use some of his people. When I was casting Wallenberg, I sought Bibi Andersson out in Rome, where she was having a lover’s holiday with an Italian actor. It was a thrill of my life to talk to her about Bergman. Because they had grown up together, really, by which I mean they had come of age in the theater together, it was just like family.

 

An American film editor, director and scholar on Bergman

Paul Seydor, film editor (White Men Can’t Jump), author (Peckinpah: The Western Films) and Oscar-nominated director of The Wild Bunch: An Album in Montage talked to the Sun yesterday about the death of Ingmar Bergman. Here are some excerpts from his remarks: ¶

If you held a gun to my head, I’d have to say the two greatest films of the 1960s were Peckinpah’s The Wild Bunch and Bergman’s Persona. The Wild Bunch seems so extroverted, and Persona is so concentrated and seems to be abstract, but both are hugely personal films. And I feel there’s such particularity to Persona; in fact, a friend who doesn’t like it says, "I don’t see the point of this tearing into individual lives and some part of me responded." ¶

And Persona is also a cry for release from a totally private life. When I taught Emerson and Thoreau, I used to tell my students they didn’t propose moving away from society and dropping out; Thoreau moved away from society to cleanse himself, get some perspective, put himself in touch with higher values. But he came back.¶

What I love best about Bergman’s movies are not their ideas, but their concreteness. Shame is a good example; so are Persona and The Virgin Spring.

 

July 30, 2007

Common not so common

Rapper Common is an interesting figure in hip-hop. He's one of underground hip-hop's most influential performers with a smooth, sophisticated flow. His lyrics are often probing, sometimes confessional explorations of interpersonal politics. Also in his music, the Chi-Town rapper delves into various political and social issues troubling black America with a sensitive, poetic touch.

Although he's a "conscious rapper," Common has a major-label contract and has done ads for Gap. Yet he's still respected for his craft and his underground cred, as far as I can tell, is still intact. His new album, in stores Tuesday, is called Finding Forever. It's the follow-up to the Kanye West-produced Be, which debuted two years ago at No. 2 on Billboard's pop album charts, and was one of 2005's better rap albums.

On Finding Forever, Common reconnects with West. And this time, the results feel a bit forced. Where Be was taut and engaging throughout, Finding Forever gets listless toward the middle. Common is still rapping about the usual: love and lust, political struggles for black folks, the current lame state of hip-hop and finding his place within it.

Though the productions mostly retain a warm, organic feel with touches of '70s soul, a hallmark of Common albums, the music still feels half-baked this time. Finding Forever doesn't sound as rich as Be or even Like Water for Chocolate, Common's 2000 gold-selling commercial breakthrough.  

But it's not a bad album, just not as satisfying as its predecessor. Guests include Lily Allen, West and '90s neo-soulman D'Angelo (is he ever coming back?). Fans of Common won't be disappointed, though. This album isn't nearly as polarizing as 2002's Electric Circus. But it isn't as immediate as Be. Highlights include the sweet-love tracks "I Want You" and "So Far to Go," produced by the late J Dilla.

Tag team coverage from NBC and the Times.

Starting today, the New York Times and NBC News/msnbc.com are sharing 2008 election coverage on their web sites and on TV and in print.

As part of the deal, msnbc.com will be able publish premium national political content from nytimes.com on its website that reaches 24 million monthly unique users, according to Nielsen//NetRatings from May.

In return, the Times will get NBC News' political video content for streaming and publishing on nytimes.com, which had an audience of 12 million unique users in May.

NBC News will also "have first access to breaking news and enterprise reporting from New York Times journalists on the campaign trail for all its on-air and online platforms," according to a statement from the two media giants.

"The 2008 campaign is already the biggest political story of our lifetimes, and getting bigger and more complex with every passing day," said Mark Lukasiewicz, vice president of Digital Media for NBC News.

"This collaboration gives our organizations the ability to cover all the bases, with a powerhouse combination of top-quality journalism and top-flight technology delivering the story to viewers and readers wherever, and whenever, they want it."

July 27, 2007

BSO performs Beethoven's Ninth (again)

The Baltimore Symphony Orchestra’s short summer season has relied several times in recent years on the drawing power of Beethoven’s Ninth for a big finish. Last night, the old chestnut was roasted again to close the 2007 Summerfest, and, sure enough, the Music Center at Strathmore was packed to the rafters.

If you missed that performance or can’t get to tonight’s repeat at Meyerhoff Symphony Hall, not to worry — the BSO will trot out the Ninth only 11 months from now to serve as the finale of the regular 2007-2008 season. One can only trust that it won’t figure on next year’s summer festival programming, too.

Hey, don’t get me wrong. I like Beethoven’s Symphony No. 9 as much as the next guy, but I do think it might be just the tiniest bit overexposed around here.

Still, if it has to keep coming back, at least it keeps getting better. Last night’s was the most consistently satisfying of the several BSO Ninths I’ve heard.

This week’s concerts are in the hands of Carlos Kalmar, music director of the Oregon Symphony Orchestra and a fairly frequent guest conductor at the BSO. He can be a compelling force, and that’s what he was at Strathmore. (The 2008 Ninth, by the way, will be led by new BSO music director Marin Alsop, so that reappearance of the familiar score is bound to be interesting as well.)

Although Kalmar steered a politically correct course through the score, with essentially brisk tempos, he didn’t mistake Beethoven for Haydn, as some of the historic authenticity crowd are wont to do. The music sounded, as it should, forward-looking and surprising, not to mention muscled and liberating.

The conductor caught a good deal of the portent in the symphony’s opening measures and kept the intensity going through the rest of the movement. He propelled the Scherzo effectively, though the very end of it could have used more of a kick. And, without the benefit of spacious pacing (the kind long-ago podium titans preferred, and Daniel Barenboim still does), Kalmar brought much of the Adagio’s tenderness into eloquent focus.

Where Kalmar really made his mark was in the huge, architecturally quirky finale. The music emerged as if through a process of spontaneous combustion, yet all held masterfully together. The great recitative-like passage for cellos and basses at the start was handled exceptionally well, each phrase full of communicative inflection.

Kalmar increased the expectation level with a prolonged pause before the orchestra’s start of the famous Ode to Joy theme, then ensured that the theme itself began on the threshold of audibility, as if coming from some distant force that, drawing nearer, would pull grateful mortals into its exuberant song. Things remained just as interesting and involving as the music unfolded. The conductor paid particular attention to hairpin turns of dynamics, adding to the drama.

Bradley Garvin did not produce the huge, attention-grabbing bass tones that can jolt you out of your seat with the first human utterance in the symphony, but his firm voice and lively phrasing registered strongly. The solo vocal quartet also included Janice Chandler-Eteme, who soared sweetly, surely; tenor Richard Clement, who overcame upper-register strain to make expressive points; and mezzo Malinµ Fritz, who added rich, mellow sounds to the mix.

The Baltimore Choral Arts Society excelled — smooth tonal blend, lots of power, attentive to everything Kalmar asked for in terms of articulation and phrase-shaping.

If not on par with its best efforts, the BSO still had a fine night. The strings sounded a little underpowered, but phrased with considerable warmth. A few stray notes aside, the brass and winds proved sturdy.

All in all, a satisfying account of this iconic symphony — and things are likely to get even better tonight.

For ticket information, call 410-783-8000 or go to baltimoresymphony.org.

July 26, 2007

J.K. Rowling on 'Today'

Meredith Viera interviewed Harry Potter author J.K. Rowling this morning on the Today show -- along with some help from an audience of fans of the book.

Rowling said that, "At the moment, if feels great" to be finished with the series, although she was "hard to live with a week after I finished the book."

Rowling added that the thing she will miss the most about writing the books is that now she won't "have that world to retreat into."

As for whether the book left some things hanging, she said it "would have been humanly impossible" to answer all the questions in the level of detail that some of her fans, such as the ones who won't rest until they know Harry's great-grandparents' middle names, require.

She said one character showed up in the final book who she fully intended to off in Book 5: Mr. Weasley, Ron's dad. But at the time, she couldn't bear to write it, so he survived.

When asked who the new headmaster is in the future described in the epilogue, she said, "If I ever do the encyclopedia I've been promising, I'll give details."

A boy asked if Harry Potter was inspired by anyone she knows, and she said, "Harry is entirely imaginary."

When a girl asked if she planned to write more books, Rowling said yes, definitely, that she couldn't imagine not writing. The girl then asked whether she would write more about wizardry (good follow-up question for a kid!), and she said, "I am done with the wizarding world."

Tomorrow on Today, they'll show a one-on-one interview, and Sunday's Dateline will have still more on Potter.

July 25, 2007

Pew study on Internet video

No one doubts that online videos are an inexorable part of the Internet landscape. Anyone watching the Democratic candidates’ debate on Monday would have seen an unprecedented example of that.

But the people at the Pew Internet & American Life Project wanted to make sure. In a study released today, the Washington research organization reveals that 57 percent of adults who use the Internet have used it to watch or download video, and that 19 percent do so on a typical day.

The growing adoption of broadband, combined with a strong push by content providers to promote online video, has helped to pave the way for mainstream audiences to embrace online video viewing. Three-quarters of broadband users (74 percent) who enjoy high-speed connections at both home and work watch or download video online. No wonder YouTube is so popular.

Pew’s first major report on online video also shows how many video viewers have contributed to the viral and social nature of online video. More than half of online video viewers, 57 percent, share links to the video they find with others, and three in four (75 percent) say they receive links to watch video that others have sent to them.

Video viewers who actively exploit the participatory features of online video – such as rating content, posting feedback or uploading video – make up the motivated minority of the online video audience, the study says. Young adults are the most active participants in this realm.

“Young adults are among the most contagious carriers when it comes to understanding how viral videos propagate online,” says Mary Madden, a senior researcher and the lead author of the report. “Younger users are the most eager and active contributors to the online video sphere. They are more likely than older users to watch, upload, rate, comment upon and share the video they find.”

Overall, just 8 percent of adult Internet users say they have uploaded video content online, while 15 percent of internet users ages 18-29 have contributed video.

Young adults also stand out for their unique video viewing preferences, the study found. News content is the most popular genre with every age group except for those aged 18 to 29. For young adults, comedy is a bigger draw, with 56 percent watching humorous videos, compared with 43 percent of Internet users ages 18-29 who say they watch news videos.

Overall, 62 percent of online video viewers say that their favorite videos are those that are “professionally produced,” while 19 percent of online video viewers express a preference for content “produced by amateurs.”

“Anyone with a digital camera and an Internet connection can create and distribute video that has the potential to reach millions of viewers all over the world,” Madden said. “Online video tools are providing ordinary people with extraordinary ways to communicate with one another.”

The Pew researchers surveyed 2,200 adults aged 18 and older between Feb. 15 and March 3. Some 1,492 of those interviewed were Internet users. The margin of error on the full sample is plus or minus 2 percent.

— Nick Madigan 

'From Within' offers a taste of Hollywood in Cecil County

Long-dormant parts of a Veterans Hospital campus near Perryville are being brought-back to temporary life for the next two weeks, as sets for the filming of a horror-thriller titled From Within.

The film, directed by noted cinematographer Phedon Papamichael (Sideways, Walk the Line) stars TV actors Thomas Dekker (Heroes and the upcoming The Sarah Connor Chronicles), Elizabeth Rice and Laura Allen (Dirt), as well as Rumer Willis, the daughter of Bruce Willis and Demi Moore. The producers are hoping to have the film ready in time for February's Sundance Film Festival.

Shooting on the grounds of the abandoned VA hospital at Perry Point, across the Susquehanna River from Havre de Grace, the filmmakers are using a group of homes -- built around 1918, when the grounds were being used in the manufacture of ammonium nitrate for use in World War I. The homes, originally built to house factory workers, have been abandoned since 2004 and are slated for demolition.

Shooting the film gives the homes, mostly two-story frame dwellings, a last chance for fame and glory. It also gives visitors -- welcome, as long as they don't make pests of themselves or otherwise get in the way -- a chance to see how movies are made.

Notes on the "Plastics" show at the Creative Alliance

The "PLASTIC" show at the Creative Alliance came down before we were able to review it in the paper, but it was one of the season's more memorable shows. Here are some of my thoughts about it that I didn't get to publish.

Ever since a tipsy Mr. Robinson whispered the word to a callow Benjamin Braddock in The Graduate, plastic has connoted all that is shallow, materialistic and fake about America.

The artists in PLASTIC: Landscape, Cityscape, Lifescape, at the Creative Alliance, came along a full generation after the confused flower children in director Mike Nichols 1967 film.

Many of them grew up in suburbia, shopped in the malls and gradually discovered that even if you moved from one end of the country to the other, things would still look pretty much the same  mass-produced, standardized in quality and firmly attached to a recognizable brand-name.

In short, these artists inherited everything that Dustin Hoffman's Ben Braddock and Katherine Ross' Elaine Robinson were fleeing from when they jumped onto that bus at the end of Nichols movie. Yet rather than shun Americas obsession with material well-being and social conformity, these artists mostly embrace it, if for no other reason than a lack of viable alternatives.

Multimedia artist Bridget Sue Lambert, for example, photographs ingenious, exquisitely detailed images of domestic interiors that she sets up inside a large dollhouse.

It's impossible to view her tiny chairs, carpets, tables and other furnishings without a twinge of nostalgia. They represent a vision of life lived authentically in what now seems a distant era before the arrival of endless tract houses and fast-food joints. It's not exactly Norman Rockwell's America, but its not R. Crumb's either.

At the opposite end of the spectrum from Lambert's gentle reminiscences are Ben Furgal's slick, urban architectural fantasies, which are every bit as dazzling (and as wholely imaginary) as those of Giambattista Piranesi, the 18th-century Italian painter who created delightfully ficticious veduti, or views, of Venice.

Furgal's glittery, ultramodern cityscapes are almost kitsch -- but only almost. What saves them is an innocent, joyous whimsy that really makes you wish these stylish American veduti were real. Plastic has never looked so good.

The show, which closed Saturday, also presented works by Ben McKee, Eric Leshinsky, Dina Kelberman and Zachary Thornton. 

Buzz links Leonard Slatkin and Detroit Symphony

Leonard Slatkin, who departs the National Symphony Orchestra at the end of the 2007-2008 season after more than a dozen years as music director, may be close to a new job. The Detroit Free Press reports today that Slatkin clicked so quickly and energetically with the orchestra during a guest conducting stint in May that he was re-engaged for performances this weekend, replacing the orchestra’s resident conductor. A positive buzz about him was reported among players and management.

Slatkin was recently named principal guest conductor of the Pittsburgh Symphony, and he enjoys a strong association with the Nashville Symphony as music adviser (that orchestra, too, is in the market for a new music director). He’s also principal guest conductor of the Royal Philharmonic in London.

Slatkin clearly still has much to offer, including a superb baton technique, remarkable breadth of repertoire and a knack for putting an audience at ease with dry-wit-filled remarks from the stage.

He certainly looks like a fitting successor to Neeme Jarvi as music director of the Detroit Symphony, long one of America’s next-best orchestras (the large group, including the Baltimore Symphony, that lines up behind the top five of Boston, Chicago, Cleveland, New York and Philadelphia).

If the 62-year-old Slatkin does get the post, it will also be a welcome signal to seasoned conductors that there will still be room for them after all, despite the recent wave of appointing younger-generation music directors (a 20-something in Los Angeles, a barely 40-something in New York).

July 22, 2007

Ryan Shaw & Burning Spear

Sunday's Artscape wasn't as crowded as Saturday's. The weather was gorgeous again, with a kind sun and frequent breezes. Soul newcomer Ryan Shaw and reggae veteran Burning Spear closed the festival.

Recently, I wrote about Shaw's debut, This Is Ryan Shaw, a '60s soul-inspired album gritty with the Georgia native's Southern gospel-rooted vocals. Although Shaw is talented, his album felt tentative. With little emotional heft, the record comes off as by-the-numbers retro soul. And the same can be said about his Sunday show.

Looking classy in black slacks, polished loafers and a short-sleeved black-and-red shirt, the dreadlocked singer opened the show with "A Change Is Gonna Come," the legendary song by Sam Cooke. Shaw cops many of the late soul singer's vocal licks, throwing in a few Wilson Pickett-inspired screams here and there.

Backed by what sounded like an undistinguished, three-piece bar band, Shaw oversang cuts from the debut. And the songs were mostly covers, including Bobby Womack's "Lookin' for a Love" and Pickett's "I Found a Love." He packed the songs with so many shrieks and overdone lines he gave me a headache. Shaw is talented, but he needs to learn to rein it in. Soul singing isn't about screaming yourself hoarse. It's about nuance, manipulating colors and tones. Give him time, though. Maybe Shaw will get it.

Where Shaw was overcooked, Burning Spear was ultra laidback. The reggae vet was supported by an eight-piece band, a solid groove machine powered by three punchy horns. But I could barely hear Spear's muffled vocalizing. I could make out a song in which he sang about romancing a young woman by the river. Whenever he felt like it, Spear played the conga drums, seemingly content to just be a part of his ultra-tight band. Then from time to time, he'd dance a shuffle step at center stage. The crowd, which swelled right before Spear took the stage, grooved with him. The lilting rhythms complemented the breezes.

John Travolta as Edna Turnblad in "Hairspray"

There's only one thing wrong with "Hairspray" the movie, and that's John Travolta's portrayal of the zaftig matron, Edna Turnblad. His depiction may trouble anyone who has seen either John Waters' original, 1988 movie, or the smash Broadway musical on which the current flick is based.

It was never, for one moment, possible to forget that the late, great performer Divine (Edna in the original movie) or the foghorn-voiced Harvey Fierstein (Edna in the stage musical)  was a man wearing a dress.

But Travolta, speaking in a breathy falsetto, works hard to convince the audience that he is female. He is so persuasive that there were moments when I wondered if I was watching, not the star of Saturday Night Fever, but his hefty twin sister.

And, that's a problem.  

As Sun movie critic Michael Sragow pointed out, the film is a delight from beginning to end. It's hard to leave the movie theater without feeling buoyant and optimistic -- largely because of the movie's message of inclusiveness: in particular toward people of all races, and plus-sized folks.

Waters' work isn't normally noted for its subtlety, but the filmmaker and self-dubbed "Filth Elder" is nothing if not surprising. By writing such a prominent and sympathetic role specifically for a cross-dressing male actor, Waters was suggesting delicately that we extend our affection and respect toward drag queens -- and the gay people with whom the former group often is associated in the public mind. (In reality, many cross-dressers are heterosexual.)

If the audience can't tell that Travolta isn't really a woman, that message gets lost. And in a film that celebrates diversity in all its guises, that's a dirty, rotten shame.

A side note: My favorite song from the musical, "Mama, I'm a Big Girl Now," unfortunately was cut from the current movie. But it's in the credits. Hang around until they end, and you'll find a small, sweet surprise: The tune is arranged for three performers, and it's sung by Rikki Lake, Marissa Jaret Winokur and Nikki Blonsky -- who, respectively, played tubby teen Tracy Turnblad in the 1988 film, on Broadway and in the current movie. 

It's just one of the myriad ways in which this film will make you smile.

July 21, 2007

Lupe Fiasco and Keyshia Cole at Artscape

It was a perfect evening for an outdoor festival: no humidity, pleasant breezes. The weather pulled thousands out. In the four years I've been covering Artscape, I don't think I've ever seen so many people.

But Saturday's main stage attractions, Lupe Fiasco and Keyshia Cole, were mostly lackluster. Lupe's show puttered along. It seemed as if he was rapping for himself. Although the Chicago rapper is talented (his debut, Food & Liquor, was one of the most critically lauded rap albums of last year), he doesn't have much charisma on stage. The wiry artist mostly jumps around, rapping more to his hypeman than the crowd.

Keyshia Cole, the new-millennium Mary J. Blige, is charismatic, but she gave a lazy show. Throughout most of her set, she shamelessly plugged her sophomore album coming out in September, an upcoming Essence cover and the return of her BET reality show.

The three girls standing behind me and belting out Keyshia's songs actually sounded better than the star and her shrill background singers.

New media for the rest of Artscape

The "new media" of video, photography and installation are already old hat in the contemporary arts community, and there was plenty of it to be seen this weekend at Artscape, Baltimore's annual outdoor arts festival. The artists have got the hang of it, but how about the rest of Artscape?

I'm thinking in particular of the musical events, especially Friday night's Isley Brothers concert, which early on was so ringed by spectators you couldn't get close enough to the stage to see anything if you got there after after 7 p.m. But people kept right on coming! I found myself thinking, hey, how come the stage doesn't have one of those giant video screens like the ones in sports stadiums and political convention halls? Then even if you couldn't see the actual stage you could still enjoy the performance.

Artscape's gotten so big and so crowded, it's outgrown its Mount Royal Avenue location, where the crowds were so thick it took me 15 minutes to walk from MICA's Station building, where the concert was held, to the food court in the parking lot across from the Lyric Theater. So why not at least make a stab at virtually enlarging the Main Stage, where the most popular acts are scheduled, by putting up at least one of those giant TV screens so more people can see the artists they came to hear?  Video is the wave of the future, and not just for visual artists!

Battling exhaustion for Harry Potter

Caroline Schneider made a deal with her dad. She would clean up her room if he would let her stay up late and buy the new Harry Potter book at midnight, when it went on sale.

“I inspected her room, and it was shockingly clean,” said James Schneider, 14-year-old Caroline’s dad and a bankruptcy judge in Baltimore. A deal is a deal, and there they were, standing at Daedalus Books & Music in a long line of mildly exhilarated Potter fanatics, many in costume and goggle glasses, waiting for the witching hour.

In her hand, Caroline clutched a blue, numbered card, issued at the counter, indicating that she was one of 80 walk-ins who would snag one of the 160 copies of “Harry Potter and the Deathly Hallows” the Belvedere Square store had procured. The other 80 volumes were being reserved for customers who had ordered the book in advance.

There were similar scenes in other bookstores not only across Baltimore and its suburbs – a Barnes & Noble store in Pikesville, for instance, had lines of eager “Hallows” buyers snaking outside as far as the eye could see – but in cities across the Western hemisphere, as fans of the enormously popular books clamored to discover how the seven-volume series ends.

To lend an air of theatricality to the occasion, and to distract the waiting hordes, the Daedalus store had hired a group of local performers, known as the Calefaction Society, to do their act outside on the sidewalk, juggling and spinning objects afire. But most of the Potter heads – sometimes called muggles, like those in J.K. Rowlings’ books who are without magical talents – opted to forsake such trifles and stay inside, lest some evil power (Voldemort himself?) wrest from them their place in line.

“I’ve got my number, so I’m good,” said Olivia Brann, 16, a theater student at the Baltimore School for the Arts, proudly displaying a number 7 as she waited in line at Daedalus. “I just hope no one reveals the ending to me – that would really upset me. If I’m really into it, I might stay up all night.”

As the clock approached midnight, someone started counting down the seconds and everyone took up the cry, concluding with a riotous cheer. Four store attendants, including the manager, Sara Roberson, manned the counter, briskly exchanging cash and plastic for the orange-jacketed, 759-page tome.When Brann eventually made her way to the counter, the pace wasn’t brisk enough. “Give me my book,” she muttered impatiently under her breath as a counter clerk hovered in vain over the little machine that spits out credit-card receipts.
When the transaction was finally completed and Brann was handed her book, she said, “Oh, yeah.”

Remarking on the new tome’s heft, Brann said she had read “Harry Potter and the Goblet of Fire,” the fourth in the series, in a mere three days. While “Hallows,” though longer, might be a breeze for someone like Brann, it was clearly about to tax some of the younger Potter fans at the store for whom it was way past normal bedtime.

“I’ll stay up reading as late as possible,” said Isabel Stevenson, 10, who was clad in a black Hogwarts robe and whose somewhat crimson eyes suggested that she was already losing her battle with exhaustion. “As long as I get two hours of sleep,” she added, waving a chopstick as a wand and prompting a laugh from her mother, Melina Turtle, who said Isabel was vastly underestimating her need for rest.

When she was handed her copy of “Hallows,” Isabel hugged it close while her mom paid the $25.15 price – discounted from the list price of $34.99. The book was a birthday present for Isabel, who reached her first decade on July 7 and who, her mom said, recently wrapped up a second run-through of the first six Potter books.

Not everyone snapping up the seventh one was pint-sized or adolescent. “I know a lot of adults who can’t wait for their kids to finish reading them,” said Thomas Horman, 44, who called himself a “bureaucrat” for the State of Maryland and who got into the Potter books after hearing Rowlings on the radio reading an excerpt from the second or third one.

Although she was leading her 4-year-old son Max by the arm, Kathy Osborn said she was there not to indoctrinate Max into the ways of wizardry but because she and her husband, Mark, are devoted Potter fans.

“I don’t think this will ever happen again in our lifetimes – so many people so excited about a single book,” she said. Then, looking down at her son, who was intently sucking a lollipop, she said, “I hope he remembers this.”

One woman who rushed into the store a moment after the last copy of “Hallows” might like to forget the whole thing. She looked stricken when told the bad news. “I keep missing it,” she said, suggesting she had already tried other bookstores.

 

Give up? Good lord no. “I have to go to Barnes & Noble,” she said, her voice full of purpose, as she whirled around and headed for the door.

The Police in Hershey, Pa.

First things first: The traffic going in and coming out of Hershey Park Friday night was horrendous. I have never been in so much congestion in my life. It took me three hours, three! to exit the huge lot. Several times, I wondered whether walking back to Baltimore from Hershey, Pa., would have been quicker. 

Well, enough about that. The Police rocked. Hard. During its '80s heydey, the trio of Sting, Andy Summers and Stewart Copeland were never known as a must-see live act. And even today, the group gives you hardly any theatrics. No pyrotechnics, no elaborate staging whatsoever. They delivered the hits and fan favorites with few embellishments. The guys were mostly faithful to arrangements of "Don't Stand So Close to Me," "Walking On the Moon" and other Police classics.

By the way, Sting looks amazing. He's like the male Madonna: lean, toned and seeming to absolutely love being in his skin. I want whatever he's on. Summers and Copeland look every bit their age, which isn't necessarily a bad thing. However, they rock with an intensity and an unbridled energy of men half their ages.  Copeland in particular was a wonder on drums and percussion. Each memb