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- The Artist Who Copied Out The Complete “Moby-Dick” By Hand
Bethany Collins spent four months transcribing the 900-odd-page text. She finds many of Melville’s concerns relevant today: “following the lone madman who will take the whole ship down, … overconsumption, the pursuit of oil and an obsession with whiteness.” (Okay, the last one might be a stretch.) – T — The New York Times Magazine
- Why Is It So Hard To Make The Case For Universities?
The “constitutive” role of universities cannot merely be announced to like-minded audiences or extracted from sympathetic courts. – Chronicle of Higher Education
- The Role Of Arts And Culture In Turbulent Times
When the news and social media are flooded with opposing interpretations of events, outright lies, and about a zillion editorial style video shorts that offer about a zillion different opinions, art and culture can bring the reality and humanity of the headlines to light. – Ludwig Van
- Live Nation Anti-Trust Trial Begins
The government says Live Nation retains its grip on the music industry with strong-arm tactics like demanding that artists use its promotion services in order to perform in its amphitheaters. – The New York Times
- Follow One Of Broadway’s Top Electricians Through His Workday
Jimmy Fedigan has worked on 125 shows, working up from substitute spotlight guy to overseeing the entire technical production of the musical Chicago. In this video, he walks us through various aspects of his job, from the scene shop where sets get built to backstage shortly before curtain time. – The Wall Street Journal (MSN)
- Reading Eleonora Redaelli’s Invisible Cultural Policy in America
- Niche-Casting: Live Online Talk Shows About Specialized Topics Are On The Rise
Many of these productions function as modern-day trade magazines. One show targets car dealership owners. Another, TBPN (Technology Business Programming Network), focuses on tech overlords. Malcolm Harris, a former sports talk personality, helms “What The Truck?!?,” a thrice-a-week show all about logistics. – The Hollywood Reporter
- This Fast-Rising Standup Comedian Makes Dance An Integral Part Of His Show
“Chris Fleming … marries the idiosyncrasies of his writing — one bit has him pretending to be a dirty cast-iron skillet — with a delivery that leans heavily on his training in classic modern dance. He is probably the only working funnyman who cites Isadora Duncan as an influence.” – The New York Times
- Buckminster Fuller Sculpture Collapses Following Snowstorm
The piece, installed outdoors at the LongHouse Reserve on the South Fork of eastern Long Island, is one of only five existing versions of Fuller’s Fly’s Eye Dome. The roof of the fiberglass structure caved in under the weight of the heavy snow which fell in late February. – Artnet
- Downtown L.A.’s Latest, And Smallest, Performance Venue Looks Like An Electrical Box
Indeed, when artist S.C. Mero was installing it in the Arts District, police stopped her, concerned she was ripping out copper wire. Inside, the Electrical Box Theatre is “an impromptu performance space for the sort of experimental artists who no longer have an outlet in downtown’s galleries or more refined stages.” – Los Angeles Times (Yahoo!)
- Buffalo’s Public Radio Stations To Rearrange Programming
“Buffalo Toronto Public Media (BTPM) plans to move programming currently on news/talk WBFO (88.7) and BTPM Classical WNED (94.5) in Buffalo, NY, resulting from the latter’s recent conversion to an advertising-eligible license and the company’s loss of $2.2 million in annual federal funding.” – Inside Radio
- Site Of Cancelled Pompidou Center Jersey City May Become Affordable Housing
“Jersey City Mayor James Solomon, who took office in January” and killed the project shortly afterward, “announced Monday that the city would work with Kushner Real Estate Group on new plans for the Artwalk Towers development.” – Gothamist
- Trump and the Arts — Take Three
Having written a book – The Propaganda of Freedom – exploring the relationship between JFK and the arts, and having finished in manuscript a subsequent study of Leonard Bernstein and cultural leadership, I find myself responding to the Trump-Kennedy Center and kindred developments by looking backward at what might have
- The Rochester Philharmonic Orchestra seeks President and CEO.
Aspen Leadership Group is proud to partner with the Rochester Philharmonic Orchestra in the search for a President and Chief Executive Officer.
Reporting to the Board of Directors, the President and Chief Executive Officer (President) will serve as the chief strategic and operational leader for the Rochester Philharmonic Orchestra. Working in close collaboration with the RPO’s Music Director and Board, they will be responsible for building on and managing long-term strategic initiatives to ensure artistic excellence and financial stability. The President will think creatively and strategically to lead the business operations of the RPO, ensuring an enterprise that is capable of supporting its initiatives and ambitions. In addition, they are responsible for expanding the recognition and relevance of the RPO in the community, providing leadership and motivation to the entire organization, including staff, orchestra, Board, and volunteers.
The President will be a consummate professional with a deep appreciation for the symphonic art form. They will be a confident and experienced spokesperson, strong communicator, and comfortable in the public eye. They will have experience leading a world-class performing arts organization or significant leadership experience in a nonprofit, private, or public sector environment coupled with a fundamental understanding of the current and evolving business model and financial aspects of orchestra management.
The President will have fundraising experience and a history of successfully asking for and obtaining major gifts, either as a volunteer fundraiser or as an executive, and experience reporting to, or working with, an engaged board of directors. They will have demonstrated capacities in leadership and communication and be committed to innovation and creative thinking. The President will have experience leading a team and an ability to work with a high degree of success in collaborative settings. They will be able to work a flexible schedule and thrive in a fast-paced environment, handling competing priorities with decisiveness and grace.
The GRAMMY® Award-winning Rochester Philharmonic Orchestra (RPO) has been committed to enriching and inspiring our community through the art of music since its origins in 1922. The RPO presents approximately 150 concerts and broadcasts a year, serving up to 170,000 through ticketed events, education and community engagement activities, and concerts in schools and community centers throughout the region. Music Director Andreas Delfs has reinvigorated the Rochester Philharmonic both musically and institutionally, and Principal Pops Conductor Jeff Tyzik, now in his 32nd season, has earned a national reputation for excellence in Pops programming during his tenure with the orchestra.
The Rochester Philharmonic Orchestra (RPO) believes that all residents should experience music engagement and learn throughout their lives. With that in mind, the RPO became one of the first orchestras in the country to place an emphasis on music education for all members of our community. Our programs are comprehensive in their content and most are offered free of charge. In 2024, the RPO launched Voices of Today, a five-season commissioning, recording and storytelling initiative that champions new concert music and creates a unique online resource that extends the life of the commissioned music far beyond its concert premiere.
We are committed to creating an environment where all individuals feel welcomed, respected, and inspired—on stage, behind the scenes, and in the audience. Through thoughtful programming, meaningful partnerships, and a supportive culture, our goal is to connect with all corners of the community by understanding that, together, we share more than music. We share a passion for community, a connection to the human spirit, and a commitment to providing extraordinary musical experiences that know no boundaries. This is “RPO for All”.
A bachelor’s degree or an equivalent combination of education and experience and at least ten years of experience, including five years in senior management, is required for this position. Experience in an arts or cultural institution is preferred. The Rochester Philharmonic Orchestra will consider candidates with a broad range of backgrounds. If you are excited about this role and feel that you can contribute to RPO, but your experience does not exactly align with every qualification listed above, we encourage you to apply. All applications must be accompanied by a cover letter and résumé. Cover letters should be responsive to the mission of the Rochester Philharmonic Orchestra and the responsibilities and qualifications specified in the position prospectus.
The salary range for this position is $280,000 to $300,000. The Rochester Philharmonic Orchestra offers a comprehensive package of benefits, including medical, dental, and vision insurance, and a 403(b) retirement plan.
If you require reasonable accommodation in completing this application, interviewing, or participating in the selection process, please contact Millie Taylor at millietaylor@aspenleadershipgroup.com.
To apply for this position, visit: https://apptrkr.com/6971904.
- President and CEO – Aspen Music Festival and School
Aspen Music Festival and School (AMFS) welcomes applications and nominations for the position of President and Chief Executive Officer. Alan Fletcher, who has served with distinction since 2006, has announced that he will step down at the end of 2026. A Search Committee has been appointed to identify the next President and CEO and has engaged Catherine French Group (CFG) to assist them in identifying and recruiting qualified candidates. The AMFS Board expects to introduce the President and CEO-Elect to the Aspen community during the 2026 Summer Season. The President and CEO will assume leadership in January 2027.
About Aspen Music Festival and School
www.aspenmusic.orgThe Aspen Music Festival and School is widely recognized to be among the finest classical music centers for performance and education both nationally and internationally. Presenting more than 400 musical events during its eight-week summer season, AMFS draws leading classical musicians from across the world for a rich combination of performances of orchestral works, opera, chamber music, recitals, contemporary music, works by new or previously unrecognized voices, popular genres, family events, and talks, competitions, and classes.
In 2026, more than 450 students will participate in orchestra, opera, chamber music, piano studies, classical guitar, composition, and conducting studies. Students come to Aspen from 40 U.S. states and 40 countries to play in three orchestras, sing, conduct, compose and study with more than 135 artist-faculty members from the leading professional ensembles, conservatories, and schools of music in North America and across the world.The Aspen Music Festival and School started as a bold dream in June 1949, when Walter and Elizabeth Paepcke organized an event that brought leaders, artists, thinkers, and dreamers to the remote mountain town of Aspen to discuss big ideas and listen to music that touched the soul. The experience was both profound and joyful, and the following year, the musicians returned. Walter Paepcke asked his friend the acclaimed baritone Mack Harrell to form a school, and the annual music festival and school was born.
Over seven decades, AMFS’s magic has been in this combination of seasoned professionals and youth as colleagues and co-inspiring forces. AMFS alumni fill every corner of the music world today, performing in orchestras, as soloists, singing, composing, conducting and teaching. AMFS continues to create, educate, and inspire.A deep commitment to Aspen itself and the surrounding communities is reflected in the many events in and around the Klein Music Tent that are free to the public during the summer season. From Fall to Spring, AMFS engages young audiences with popular in-school and after-school music programs throughout the Roaring Fork Valley.
AMFS is governed by a Board of 48 dedicated and engaged Trustees. The FY 26 operating budget is $23 million. Alexandra Munroe is Board Chair; Robert Spano is Music Director.
The Opportunity
As AMFS celebrates the 75th anniversaries of the first concerts and its incorporation as the Music Associates of Aspen, a Strategic Planning Committee has evaluated AMFS’s strengths, opportunities, and priorities for the much-changed landscape of the post-COVID world. Working with an energized Board, the next President and CEO will take a leadership role in shaping the future of AMFS through a number of initiatives that will strengthen the organization, expand the quality and reach into key strategic areas, and deepen a commitment to excellence and access. The President and CEO will take a leadership role in completing a major campaign to achieve a significant increase in the financial aid and unrestricted net assets that will support significant growth and impact for AMFS and for the future of classical music education and performance. In addition, raising capital to expand housing is also part of the current campaign.
The Position
The President and Chief Executive Officer provides leadership and vision that enable Aspen Music Festival and School to fulfill its mission and achieve its goals for artistic and educational excellence, community impact, and long-term financial sustainability.
The President and CEO is responsible for all aspects of AMFS’s operations, including: education and professional training programs; artistic programming; faculty, student, and staff recruitment and oversight; strategic planning; financial management; fundraising; facilities management and site development; community education programs and partnerships; audience engagement; marketing; public relations and positioning; and public advocacy. The CEO ensures that AMFS maintains its competitive edge by recruiting the highest caliber faculty; partnering with the faculty to recruit top talent among students nationally and internationally; and presenting a Music Festival of international significance to the widest possible audience.
Working with the Music Director, the Vice President of Artistic Administration, the co-artistic directors of Aspen Opera Theater and Vocal Arts, resident artists, and program directors, the President and CEO oversees the artistic direction and design of the Festival season, which includes orchestra concerts, opera and music theater productions, chamber music and solo recitals, community collaborations, and special events. The President provides leadership in recruiting guest artists, conductors, and composers of international repute for its extensive festival and school programming. The President fosters an environment of collegiality, clarity, and transparency that encourages artists to do their finest work through collaboration, renewal, and a sense of possibility.
With the Board Chair, the President and CEO takes an active role in recruiting a dedicated and engaged Board. The President provides impetus and support to the work of the Board and ensures that the Board and its committees have timely and accurate information to support decision making. Working with the Treasurer and the Chief Operating Officer, the President develops and implements annual and multi-year operating plans and capital budgets. The President recruits, supervises, motivates, and evaluates a high-performing professional staff.
With the Board Chair, the President and CEO takes the lead in on-going efforts to address issues of critical importance to AMFS, including: the shortage of available and affordable housing for AMFS faculty, staff, students, and guest artists; the campaign for increased restricted and unrestricted endowment to support growth in programs and services; reimagining the concert-going experience to increase attendance at performances in the Klein Music Tent and Harris Concert Hall, among other venues; recruiting artistic leadership; and managing anticipated generational shifts in faculty, board membership, donors, and audience.
As AMFS’s top fundraiser, the President and CEO works with the Board Chair to ensure that AMFS has the volunteer and staff leadership and systems in place to achieve and exceed annual operating income goals, endowment growth, and capital campaign goals. The President takes a leadership role in the identification, cultivation, and solicitation of donors in the greater Aspen community and in communities across the country and beyond.
The President and CEO is a visible representative of AMFS throughout the greater Aspen community on a year-round basis. The President actively seeks opportunities to develop cultural and civic partnerships and collaborations with organizations that share an interest in developing arts and cultural opportunities for the broad and diverse Aspen area community while building organizational impact and sustainability in a challenging resort environment.
The President and CEO is the chief spokesperson for AMFS, and oversees public positioning and messaging to internal and external audiences locally, nationally, and internationally.
The President and CEO reports to the Board through the Board Chair. The CEO oversees a faculty of 136 and a year-round staff of 39 that increases to 150 during the summer Festival Season.
Presence in the Aspen Community
The next President and CEO of AMFS will participate actively in the civic and cultural life of the Aspen community and, with support from the Board, Aspen will become their primary residence. The position requires that the President and CEO be in residence for the full summer program from June through August. While maintaining a strong visible presence in Aspen throughout the year is of the utmost importance, the President and CEO must be willing and able to travel as necessary during other months of the year for donor cultivation and fund raising; for student, faculty, and guest artist recruitment; to be an advocate for AMFS; and to engage broadly with the arts, humanities, education, and philanthropic communities nationally and internationally.
Candidate Profile
The next President and CEO of AMFS will be a charismatic and visionary leader whose professional career demonstrates a passion for the broad spectrum of classical music; a commitment to education and professional training at the highest level of excellence; and the ability to inspire and secure significant audience and philanthropic support for music and professional education.
The President will be a thoughtful agent for change. The President will unite the Board, faculty, and staff around a shared vision for the ways that AMFS can adapt to the challenges facing classical music and the institutions that support classical music. The President will have the ability to challenge and empower young musicians to envision and create their professional futures.
The successful candidate will have a strong working knowledge of music and the professional music world. Leadership experience with a performing arts organization such as a professional orchestra, opera company, chamber music organization, and/or presenter, while not required, will be seen as an asset. While respectful of the traditions that have long influenced the preparation of young artists, the President will have clear vision of the opportunities and challenges that await the next generation of professional vocalists, instrumentalists, conductors, and composers as they expand the boundaries of classical music and artistic expression.
The President will have the broad interests and social skills needed to communicate comfortably and effectively with people across a broad socio-economic spectrum.
The President will have the emotional and organizational maturity required to manage competing interests and bring differing points of view into alignment in order to build consensus about the strategies that the Board has identified as critical to future success.
The successful candidate will be creative, innovative, curious, and persistent. The candidate will be a person of integrity and high ethical standards with a strong personal commitment to transparency. The candidate will have excellent listening skills, sound judgment, and a good sense of humor.
Compensation and Benefits
The salary range for this position is $450,000 to $600,000 based on qualifications and experience. AMFS offers a comprehensive benefits package. The Board will work with individual candidates to understand their specific housing needs and to facilitate their ability to make a home in Aspen.
Applications
The Search Committee welcomes recommendations, nominations, and applications from all qualified candidates regardless of race, sexual orientation, gender expression, age, disability, religion, ethnicity, or national origin. Applicants should submit a letter that speaks to their specific interest in the position and qualifications as described in the position specifications. Please include a resumé and contact information for at least three references. All applications will be treated as confidential, and references will not be contacted without the applicant’s agreement. Electronic submissions in Adobe Acrobat PDF format are requested.
Please submit application materials to: applications@catherinefrenchgroup.com
The position will remain open until filled.
- Dallas Opera seeks The Kern Wildenthal General Director and CEO
Organization
For nearly 70 years, The Dallas Opera (TDO) has been a defining cultural institution in Dallas and among leading American opera companies. Founded in 1957 with an inaugural season featuring Maria Callas, the company established a standard of artistic excellence that continues to guide its work.
TDO has presented more than 300 productions and welcomed many of the world’s most distinguished artists in significant American and company debuts. The organization has earned a reputation for artistic rigor, production quality, and disciplined governance.
The company’s artistic identity is anchored in the great works of the operatic repertoire, presented at the highest professional standard. These works remain central to audience engagement, donor confidence, and institutional stability.
In line with its tradition of artistic leadership, TDO has also regularly commissioned new works and produced rarely performed repertoire, strengthening its international reputation through disciplined and purposeful programming.
In 2025–2026, The Dallas Opera completed the most successful fundraising initiative in its history, raising more than $50 million for endowment and operations.
The Dallas Opera enters this leadership transition from a position of strength—artistically distinguished, financially fortified, and poised for disciplined growth in one of the nation’s most dynamic cultural markets.
Position Summary
The Kern Wildenthal General Director and Chief Executive Officer (CEO) reports directly to the Board of Directors and serves as the principal executive and administrative leader of The Dallas Opera.
In close partnership with artistic leadership, the CEO will define institutional strategy, allocate resources with discipline, and ensure sustained artistic and financial performance.
This appointment carries a clear mandate: to steward strength and extend it.
The CEO will exercise executive authority across all operational, financial, and administrative functions of the organization.
The CEO must navigate an evolving performing arts landscape marked by shifting donor expectations, contraction in corporate philanthropy, rising production costs, and changing audience behavior—while preserving institutional integrity and international stature.
The CEO must also articulate, in partnership with artistic leadership, a clear and forward-looking vision for The Dallas Opera in a rapidly evolving cultural landscape. This includes leveraging digital platforms and emerging technologies to expand reach, deepen engagement, and create innovative pathways for artistic experience and institutional growth.
Roles and Responsibilities
• Define and execute a multi-year institutional strategy aligned with artistic excellence and financial sustainability.
• Ensure alignment between artistic programming and institutional capacity.
• Partner closely with artistic leadership to uphold the company’s artistic standards and long-term vision.
• Maintain direct accountability for financial performance and long-term sustainability.
• Work closely with The Dallas Opera Foundation and the Board’s Finance Committee to ensure long-term financial alignment and institutional sustainability.
• Lead all major philanthropic strategy and principal gift cultivation.
• Advance innovative audience development and digital engagement strategies that expand institutional reach and relevance.
• Recruit, lead, and retain a high-performing executive team.
• Foster a culture defined by clarity, accountability, and measurable performance.Qualifications
• 10 or more years of successful senior executive leadership experience within one or more major opera, classical music, or performing arts institutions, including demonstrated responsibility within organizations of significant scale and complexity.
• Demonstrated success leading complex arts organizations through periods of financial transition, growth, or repositioning.
• Deep knowledge of the operatic repertoire and its performance traditions.
• Proven experience managing complex operating budgets and endowment stewardship.
• Demonstrated fundraising leadership and revenue diversification success.
• Established credibility within the national and international opera field.
• Exceptional written and verbal communication skills.
• Executive presence, sound judgment, and the ability to inspire confidence across constituencies.Compensation and Benefits
The Dallas Opera offers a competitive executive compensation package commensurate with experience and achievement, including comprehensive benefits.
Expression of Interest and Inquiries
To submit a current CV and a brief statement (in lieu of a cover letter and resume) outlining how your experience aligns with the job description—and addressing the core leadership areas that will be explored in interviews, including artistic vision and institutional positioning; fundraising strategy and revenue growth; governance partnership and board engagement; financial stewardship and operational oversight; community engagement and audience development; and leadership philosophy and organizational culture—please visit https://artsconsulting.com/opensearches/the-dallas-opera-seeks-chief-executive-officer/. A statement is encouraged but not required. For questions or general inquiries about this job opportunity, please contact:
Applications will be accepted until March 31, 2026.
The Dallas Opera is an Equal Opportunity Employer.
- Good Morning
Three AI stories today, three different sectors, one question: How far into the arts ecosystem does this go? An AI talent studio is building an entire digital universe for its synthetic actor Tilly (Los Angeles Times). Public Books argues we risk losing sight of human thinking itself as AI-written essays become the college norm. And SMU DataArts asks whether grantmakers should use AI to process applications — a prospect most arts people will hate but that capacity-strapped funders may find hard to resist.
Paavo Järvi has been named the next chief conductor of the London Philharmonic, succeeding Edward Gardner in 2028 (The Guardian). In Indianapolis, Newfields has shut down the Lume, its 30,000-square-foot immersive Van Gogh projection space, after a five-year run (The Indianapolis Star). The immersive-experience bubble, it seems, has its own shelf life.
A painting dismissed as not-a-Rembrandt 65 years ago has been re-authenticated by the Rijksmuseum after two years of high-tech examination (AP). Experts can change their minds — it just takes six decades and better equipment.
All of our stories below.
- Post-Assad, Syria’s Powerhouse TV Industry Has New Freedoms And New Challenges
“While Egypt is known for its movies and Lebanon for its pop singers and composers, Syria’s TV series” — especially the high-profile dramas aired during Ramadan — “have for decades been seen as the gold standard in the region.” Naturally, the fall of the long Assad family dictatorship has led to some changes. – AP
- Britain’s Ballet Black At 25
Founding Artistic Director Cassa Pancho: “There was nowhere in this country for Black classical dancers to be hired. It was suggested to me that they go and dance with Dance Theatre of Harlem – as if every Black person trained in ballet can only go to one place!” – Bachtrack
- Tilly-The-AI Actor Gets Her Own Universe
AI talent studio Xicoia, which created Norwood, has announced plans for a “rapid expansion” for the digitized actor. The developments include a digital universe dubbed the “Tillyverse,” where ”Tilly and a new generation of AI characters will live, collaborate and build careers.” – Los Angeles Times
- The AI-Written College Essay And The Decline Of Thinking
Surely the most dismal prospect is that we will lose sight of our own forms of thinking and understanding if those terms are assimilated to the capacities of AI. – Public Books
- This Little Company Brings The Ephemerality Of Theater To A Whole New Level
Every month, in an American Legion hall or women’s center (anywhere but a theater) in Los Angeles, Public Assembly presents three 12-minute plays that it has developed over the previous four weeks from pitches submitted from the audience at the previous month’s show, which is advertised only by word-of-mouth. – Los Angeles Times (Yahoo!)
- What If The Future Of Public Broadcasting Doesn’t Include Broadcasting?
If we were to launch a new local, mission-driven public-service media entity today, what would it look like? – Editor & Publisher
- Why Is There A Shortage Of Understudies In Toronto Theatres?
For at least three years running now, shows in Toronto have been disrupted because theatres did not have adequate understudy coverage. – Toronto Star
- Poet Threatens To Sue Arts Council England After Defunding
A poet is threatening Arts Council England (ACE) with legal action after a magazine it funds withdrew her work from publication based on her “social media presence”, which she believes refers to gender-critical posts. – The Guardian
- Should AI Be Used In Grantmaking? If So, How?
Arts-minded folks are likely to hate the idea, but there are pressures which could push toward it: increasing application volumes, limited staff capacity, and mounting expectations for speed and consistency in decision-making (not least from board members). Could grantmakers use AI responsibly? – SMU DataArts
- Miami Public Broadcaster WLRN In Turmoil
The future of public radio in Miami is at stake in an escalating conflict between South Florida Public Media Group, which manages WLRN, and Miami-Dade County Public Schools. – Axios
- There Are No Psychopaths?
While it has been researched across hundreds of empirical studies – especially since the explosion of research in the late-1990s – there is still remarkably little evidence that corroborates popularised claims about the diagnosis. – Aeon
- Lufthansa Changes Musical Instrument Carryon Rules After Incident
As of March 1, Lufthansa Group, citing “customer feedback,” said it would be applying “a new, more generous” carry-on policy for small instruments, such as violins, trumpets or ukuleles. – The New York Times
- Painting Unseen For 65 Years Authenticated As Rembrandt
The artwork, Vision of Zacharias in the Temple, has been in private hands since 1961, a year after art historians declared it not to be by Rembrandt. After two years of examination with state-of-the-art equipment, experts at Amsterdam’s Rijksmuseum have now reversed that earlier assessment. – AP
- Swiss Composer-Videographer Takes a Bow<a href="https://www.artsjournal.com/herman/2026/03/swiss-composer-videographer-takes-a-birthday-bow.html" title="Swiss Composer-Videographer Takes a Bow” rel=”nofollow”>
They’re celebrating Steff Signer’s 75th birthday at the Palace tonight in St. Gallen, Switzerland. - Rebecca Benaroya, Doyenne Of Seattle Arts Philanthropists, Has Died At 103
“Together with her late husband, real estate developer Jack Benaroya, Becky Benaroya championed dozens of arts, humanitarian and civic organizations including the Seattle Symphony,” whose home, Benaroya Hall, opened in 1998. – The Seattle Times
- Several Sets Of Regulators Could Still Block The Paramount-Warner Bros. Deal
Among those regulators are the Antitrust Division of the U.S. Department of Justice, the European Commission, and the U.K. Competition and Markets Authority. What’s more, several state attorneys general are considering a lawsuit, and the Committee on Foreign Investment in the United States may have concerns. – TheWrap (Yahoo!)
- Paramount Says It Won’t Sell Off Warner Bros. Cable Businesses
“Paramount Skydance’s leadership says there are no plans to divest or spinoff cable assets after merging with Warner Bros. Discovery for $110 billion. The deal will see the two companies control a vast portfolio of cable and free-to-air networks, including CBS, CNN, HBO, … Discovery Channel and much more.” – TheWrap (Yahoo!)
- Chicago Launches Plan To Create Loop Arts District
“The district will be supported by nearly 90 Loop arts organizations that will develop the neighborhood as an arts and culture destination. … (It) is also envisioned as a way to stitch together attractions such as Millennium Park and the Chicago Riverwalk.” – Chicago Sun-Times
