Phil Spector had famously created a figurative wall of sound by layering instruments and orchestral sweeps. But the Dead’s wall was essentially a behemoth sound system, a hulking electrical mess of amps, speakers, wires—like the menacing heavy-metal rig in Mad Max: Fury Road, but far larger, louder, and, perhaps, more ludicrous. - The Atlantic
“On the surface, this is welcome news for Australian writers with its funding package of $26 million ($8.6 million per year) over the next three years. But what exactly does this new support look like in the wider context of Australian literary sector funding over time?” - ArtsHub (Australia)
The gambit to chase Netflix with a service called Max didn’t work. Warner Bros. Discovery’s leaders eventually recognized the tremendous value in the HBO name, and sheepishly brought it back for an encore. - Los Angeles Times
Alphabet has to acknowledge not only the downsides of AI, but its potential to overwhelm platforms that rely on user-generated content—in other words, rein in instances of repetitive, inauthentic slop created with the very technologies that it’s investing so heavily in. - Fast Company
Arriving at art museums after four or five hours on these roads, day after day, is reliably uplifting. Everything is reversed. You’re in a huge building, with high ceilings and no predetermined path. You meander through different centuries and cultures, encountering different ideas of beauty, different understandings of power and mortality, different ways of living. - Washington Post
“Until recently, that audience lavished attention mostly on prestigious foreign companies that tour Japan regularly, such as the Paris Opera Ballet and the Royal Ballet. The country has struggled to build world-class companies and hold on to the top talent it trains. The National Ballet of Japan wants to change that.” - Financial Times
As with the dual strikes in 2023, artificial intelligence was a big sticking point in negotiations. As such, the new contract establishes performer safety guardrails and gains around AI, including consent and disclosure requirements for artificially generated digital replica use. - Deadline
"Today’s young adults have also been through the Covid shutdown, and they’re starting their careers at a time of huge financial uncertainty." - ArtsATL
“Pat was seventy-four and knew she was about to die. ... I was trapped in her world with her, trembling. She had weeks left to live and had spent so much time writing about how to get away with murder. I fantasized that she might try to kill me.” - The Yale Review
Art historian Linda Neagley has argued that pre-Renaissance people interacted with art visually, kinaesthetically (sensory perception through bodily movement) and physically. The Bayeux tapestry would have been hung at eye level to enable this. - The Conversation
"We, in the nonprofit theater world, rely on a model that is really not working for anybody. It wasn’t working before the pandemic. The warning signs were there. Nonprofit theater relies on subscribers and grants to invest in a season before it opens." - KQED
M2 appears to be an end-run around this issue, allowing ByteDance to pour in those ingredients but then step away to let Americans run the kitchen. Will we still be as hungry? Less clear. - The Hollywood Reporter
Des Moines Metro Opera performs in a house with only 476 seats, yet it has a track record of successfully staging such large-scale works as Wagner’s Flying Dutchman, Strauss’s Elektra and Britten’s Peter Grimes. Audiences are thrilled with the results. - The New York Times
The world’s oldest natural pearl and an 1,100-year-old Qur’an will be among the star exhibits at Zayed National Museum, in a new building, designed by Norman Foster’s firm, in the cultural district on the emirate’s Saadiyat Island. Director Peter Magee says the museum’s aim is to be a “research powerhouse.” - The Art Newspaper
The 62-year-old Briton — currently music director of the Tokyo Symphony and Geneva’s Orchestre de la Suisse Romande and formerly at the helm of the Bamberg Symphony, the orchestra and opera company in Lucerne, and Paris’s Ensemble Intercontemporain — succeeds Josep Pons at the Gran Teatre del Liceu in 2026. - Moto Perpetuo
