When I saw this eye-popping video for the first time, it bowled me over. I've rewatched it several times and am still marveling at it. But is this work a piece of AI-slop? Is it "kind of meaningless in [its] calculated reality," as Doug McLennan has written of the genre?
A couple of my recent blogs – here and here — have saluted John Luther Adams as “among the most esteemed present-day American composers for orchestra. . . . Encountering Adams’s Become Ocean on a 21st-century symphonic program is so fundamentally enthralling that it risks cliché. It is the proverbial oasis in the
In the evolving world of AI, marketing is moving from getting messages out to engaging in dialog with the consumer. Messages get lost in the Sea of Messages. Persuasion asks what you're interested in first and engages you in opportunities.
I cannot think of a better conversationalist about music, and about the state of things musical today, than the conductor Kenneth Woods. Ken is an American based in the UK, where he conducts the English Symphony Orchestra in Worcester and resides in Wales. He programs bravely and insightfully. He presides
It must mean a lot that I can remember watching Sid Caesar’s “Show of Shows” on TV with my parents as a young child. For one thing, I don’t recall watching anything else as a family. For another, Caesar’s “Show of Shows” went off the air in 1954 and I
This blogpost cannot adequately display the exhaustive content and brilliant design of "Couper, Coller, Imprimer," the richly illustrated catalogue of an extraordinary photomontage exhibition at La Contemporaine in Nantes, France (running through March 14). Even so, it is hoped that this limited attempt evokes the broad historical spirit of the
A reader, Kevin, asks if I had seen this new report by Brian Shearer at Vanderbilt University on legal remedies for high prices charged by different sorts of firms (airports, hospitals, car dealerships, etc) on “captive” consumers. I had not. I am no lawyer, and so I cannot speak to the various
Adrian Rodriguez, Director of Community Engagement, Chorus Director and Curriculum Manager of the Music Advancement Program at The Juilliard School, shares how to implement a commitment to young people as they develop in the arts.
We posted more than 6,000 stories across all forms of culture in 2025. When you pull back and look at them in aggregate, the individual crises—the closures in San Francisco, the lawsuits in D.C., the endless op-eds about the "death of cinema"—stop looking like isolated incidents. They resolve into a
Nostalgia may be having a moment, but to say that's all that audiences want is oversimplifying. A recent NY Times article flattens the current moment in regional theater and I analyze what it means for how we can understand audiences.
Museums still operate as if interpretation is a one-way stream, produced by experts and consumed by the public. Instead, imagine an exhibition that doesn't just speak, but listens and responds.
Cheyenne King-Bails, Director of Community Experience at The Sphinx Organization, shares the value of the SphinxConnect conference and its impact on the arts community.
It must mean something that the highest creative achievement in American classical music is permanently controversial. When Porgy and Bess premiered on Broadway in 1935, a typical critical reaction was: “What is it?” American-born classical musicians (unlike their European-born brethren) marginalized George Gershwin as an interloper, a gifted dilettante. Later,
