Breaking AI & Tech News Analyzed

The LeadAs we celebrate Miles Davis's centenary, his 1957 film soundtrack "Ascenseur pour l'Échafaud" is being repackaged with restored audio, offering a fresh look at the jazz legend's innovative approach to film scoring and improvisation. This mostly improvised soundtrack, created over one night in a Paris studio, showcases Davis's unique harmonic openness that would later influence his masterpiece "Kind of Blue."The Creative Process Behind the SoundtrackComposed by Davis from little more than a handful of chords, this music was mostly improvised straight to a screen showing budding New Wave director Louis Malle's crime thriller "Ascenseur pour l'Échafaud" (Lift to the Scaffold), over one long night in a Paris studio in December 1957. His fine local quartet included expat New York bebop drummer Kenny Clarke, and their harmonic openness created a spacey, ethereal soundworld for a story following two lovers who think they've committed the perfect murder of an inconvenient husband, and the mishaps, farces, ecstasies and fears that populate the long night of their undoing.The Musical Landscape of NoirDreamily sensual sounds mirror misplaced hopes; there are car-chase scurries (Miles's fast-bop horn virtuosity was formidable in this period), desolately bluesy accompaniments to actor Jeanne Moreau's confused wandering in search of her partner, bar-room clamour in the trumpet/tenor-sax counterpoint between Miles and saxist Barney Wilen – but all the music stands alone, without images. A quiet slow-burn, but simmering with all of Miles Davis's timelessly extraordinary light and heat.Jazz Tributes and Contemporary ConnectionsThis month marks Miles's centenary, and a clamour of celebrations of a musical life that led him to be dubbed (by Duke Ellington, allegedly) the "Picasso of jazz" for the many styles he explored. Alongside the reissue of "Ascenseur pour l'Échafaud," other artists are paying tribute: Norwegian guitarist Hedvig Mollestad's power-trio Weejuns nods to Miles Davis' 1969 "Bitches Brew" with "Bitches Blues"; guitarist Jeff Parker unveils fascinating ways of emerging from minimalism to lyricism; and Jason Miles, a former Miles Davis keyboardist, revisits that groove-centric era in his own personal way.The Legacy of ImprovisationWhen Miles Davis was dying in September 1991, an invisible, neighbouring trumpet player began playing homages to Miles' voice-like, blues-inflected melodies instead. It was a poignant personal tribute to a unique instrumental sound, and a unique imagination, that had profoundly enriched 20th-century music. The reissue of "Ascenseur pour l'Échafaud" continues this legacy, showing how Davis's approach to improvisation and harmonic openness continues to influence musicians today.

The Privacy Violation at the Majestic TheatreBroadway star Jessica Vosk has made a public appeal for backstage privacy after experiencing a distressing security breach. The performer, currently starring in the musical Beaches at New York's Majestic Theatre, revealed how a "super-fan" managed to enter her dressing room, causing her significant fear and discomfort.The Unwanted Intrusion DetailsIn a video posted on Instagram, Vosk explained that someone had gained access to her dressing room by following a group of people she knew. "I don't know how that happened – I will figure that out," she stated. It was only after several minutes that she realized the stranger was not part of her acquaintance group. "It's really scary when this stuff happens," Vosk shared, "because then it makes the actor feel put in a really crappy-ass position."Vosk noted that while it's traditional for fans to wait at the stage door after shows, this is not guaranteed or expected as part of an actor's job. Due to the considerable demands of Beaches, she had not been appearing at the stage door recently. "This show is a huge lift for me and I have not had a day off and I have been going, going, going as much as I can," she explained, emphasizing her priority to stay healthy and rest after performances.Industry Support and Shared ExperiencesFellow actors have expressed strong support for Vosk on social media, sharing their own similar experiences. Notable responses include:Kristin Chenoweth: "It's happened to me. Kinda scary."Kay-Megan Washington: Commented that such scenarios had "been happening too often" and called for greater security.Lea Salonga: "This makes me so angry! I'm so sorry it happened to you."Salonga, who previously encountered two theatregoers in her dressing room in 2023, has previously decried an "attitude of entitlement" from some fans, stating that buying a ticket for a show "does not mean all-access."A Growing Pattern in Theater SecurityThe issue extends beyond Broadway stages. In 2023, American actor Sophia Bush reported that on the afternoon of her first performance in 2:22: A Ghost Story in London, "a man stuck a camera in the window of our ladies' dressing room." The same individual later "shoved his camera through our curtains" before a production member intervened and the intruder fled.The Future of Performer Privacy and SecurityVosk concluded her video with a direct appeal to fans: "Please do not try and somehow sneak backstage to someone's dressing room at a show. It's really scary for us. It might not feel scary to you, but it is for us." This incident, along with similar accounts from other performers, highlights the growing need for enhanced backstage security measures and a cultural shift regarding boundaries between performers and audiences. As theater continues to navigate the post-pandemic landscape, ensuring artist safety and privacy may become an increasingly important consideration for venues and productions.

The Broadway-to-West End Transfer of a Cultural IconThe rock opera Rent is set to return to the Duke of York's theatre this autumn, marking the musical's 30th-anniversary celebration. The production features Gaten Matarazzo in his West End debut, taking on the role of Mark, the documentary filmmaker central to Jonathan Larson's story. This revival is a direct transfer of the critically acclaimed Manchester production by Luke Sheppard, now scaled up for the major West End stage.From Manchester to the Majestic Stage: The Production TeamThe staging is helmed by Chris Harper Productions and Sonia Friedman Productions, in association with the enterprising Hope Mill theatre. The creative team includes Tom Jackson Greaves (choreography) and Gabriella Slade (costume design), who previously collaborated with Sheppard on Paddington: The Musical. This team previously navigated the challenges of the pandemic with a socially distanced version of the show, proving their resilience and adaptability in the theatre industry.The Hope Mill Phenomenon and Star PowerThis transfer represents a massive leap for the Hope Mill theatre, which began as a small venture with a £10,000 loan. The venue, run by Joseph Houston and William Whelton, has successfully transitioned from an independent off-West End hub to a co-producer of major London productions. Furthermore, the casting of Matarazzo highlights a growing trend of Stranger Things alumni entering the theatrical sphere, following the recent West End debut of co-star Sadie Sink in Romeo and Juliet.Relevance in a Modern ContextRent remains a "gateway show" due to its themes of inclusion, LGBTQ+ rights, and the struggle of artists in a gentrifying city. Director Luke Sheppard aims to honor the legacy of the late Jonathan Larson while making the production feel "thrillingly fresh" for contemporary audiences. The musical's focus on community and survival resonates deeply, ensuring its relevance extends beyond its 1996 origins.The Future of Revivals and Streaming IntegrationWith performances starting on 26 September, this revival is poised to set a new benchmark for how classic musicals are adapted for modern audiences. The success of this production could signal a continued trend of transferring successful regional productions (like those from Hope Mill) to the West End, potentially increasing the commercial viability of non-traditional theatre spaces.

Grayson the Musical will bring the eccentric life of Turner‑prize winning ceramicist Grayson Perry to the stage in an “outrageous” production co‑created with composer Richard Thomas, the mind behind Jerry Springer: The Opera. The show, billed as an “irreverent odyssey,” explores Perry’s journey from his Chelmsford childhood to international fame, with a supporting role for his iconic teddy bear Alan Measles.“Grayson the Musical” Takes Shape with a Workshop Run in JulyThe workshop production will be staged at Soho Theatre Walthamstow in east London, the borough where Perry kept a studio for many years. Director Sean Foley leads the team, while Perry himself provides the lyrics. The book is written by Sara‑Ella Ozbek, known for screenwriting and novels.Workshop Schedule and Production Team Reveal Key NumbersFive performances scheduled from 16 to 19 July.Music composed by Richard Thomas.Lyrics by Grayson Perry; book by Sara‑Ella Ozbek.Directed by Sean Foley.Venue: Soho Theatre Walthamstow.Cultural Resonance of Perry’s Story in London’s Theatre SceneThe musical taps into Perry’s reputation for challenging class norms, gender expression, and pop‑culture references. By featuring Alan Measles, a beloved element of Perry’s visual art, the production bridges his gallery work with live performance, offering audiences a rare glimpse into the artist’s personal narrative and the broader themes of identity and self‑acceptance.What’s Next for the Musical After the Workshop?Following the July workshop, the production is slated for further development, with the potential for a full run beyond the initial five shows. Success in the workshop could position the musical for a larger West End engagement, expanding its reach and cementing Perry’s legacy in both visual and performing arts.

The Historic VictoryBulgaria has won the 2026 Eurovision song contest after singer Dara swept to victory with the song Bangaranga. The 27-year-old singer's triumph is a first victory in the 70-year history of the song contest for Bulgaria, which only joined Eurovision in 2005 and sat out the last three editions.Described by its performer as 'pop music with folklore bones', Bangaranga is a pulsating party anthem inspired by kukeri – an ancient Bulgarian ritual where men roam through villages dressed in furry costumes with bells and animal masks.The Cultural SignificanceThe precise meaning of 'bangaranga' became one of the running jokes of the night. Singer Dara said 'bangaranga is a special energy that everyone has got in themselves, a feeling that everything is possible.' This cultural reference highlights how Eurovision increasingly embraces diverse cultural expressions from across Europe.Bulgaria's surprise win means the European Broadcasting Union (EBU) and other participating broadcasters will be spared a major headache. Had second-placed Israel won, organisers would have faced difficult questions over where to host the song contest's 2027 edition.The Scale of the EventThe 70th anniversary of the musical extravaganza took place in Vienna, after Austria's operatic contestant JJ triumphed last year. About 10,000 spectators watched the show at Vienna's Wiener Stadthalle venue, with an expected TV audience in excess of 100 million. It was the third time the Alpine republic has hosted the event.The grand final saw musical acts representing 25 countries, with Bulgaria, Moldova and Romania returning after being absent in previous years. Controversially, Eurovision's anniversary was celebrated without five nations who boycotted the event over the continued participation of Israel while attacks continue in Gaza.Geopolitical TensionsIreland, Spain, the Netherlands, Slovenia and Iceland all declined to participate after the EBU changed the rules around multiple votes and state-sponsored promotion of songs, but stopped short of preventing Israeli broadcaster Kan participating. In December, Nemo, the Swiss singer who won the 2024 Eurovision song contest said they were handing back their trophy in protest over Israel's presence in Vienna.Police said about 2,000 people turned out for a protest against Israel's inclusion in Vienna's city centre earlier on Saturday. On the night, Israel's entry Michelle, a romantic pop song about a toxic relationship performed by Noam Bettan, came in at second place after performing strongly in the public vote.Voting ControversiesThis year, fans were allowed to cast ten individual votes, down from 20 in previous years. Voting for the same act ten times was allowed, but voting for the act from the country fans are calling from wasn't. During the read-out of the jury votes, the presenter representing Israel's broadcaster KAN appeared to reference last year's voting controversy when he said he already knew who was going to win this year.In the run-up to the final, KAN was forced to apologise after mocking Croatian group Lelek by comparing their traditional makeup to 'henna tattoos in Eilat.' Lelek condemned the comments as a disrespectful slight against their culture and the history of oppressed women.Future ImplicationsBulgaria's victory provides a moment of celebration for the contest amid ongoing political divisions. The win highlights the enduring appeal of Eurovision as a platform for cultural exchange despite the challenges of international tensions. As the contest moves forward, the EBU will need to balance artistic expression with political sensitivities while maintaining the event's unity.The UK's continued poor performance, with Look Mum No Computer finishing last and receiving nul point in the public vote, raises questions about the country's approach to Eurovision participation. With the exception of Sam Ryder's Space Man in 2022, the UK has enjoyed poor fortune in the competition over the last decade or so, including picking up the dreaded nil points with James Newman in 2021.

The Transformative Night in Blackpool Bronzed, with winged tips and doused in Le Male, I clamped the baby pink GHDs to my hair until they sizzled and singed it. Emerging from a cloud of cheap hairspray, I was ready for the dancefloor. I was 18 and had grown up in Blackpool, a place synonymous with hedonism and fun. I came out in high school at the age of 14 and from 16 I studied performing arts at a local college. Underage, I was smuggled into clubs and in my spare time I watched shows in our many beautiful theatres. The bright lights of the illuminations, the showgirls, the feathers, sequins and rhinestones were intoxicating. Blackpool really was – and still is – extraordinary. When the bar closed, a new adventure would begin. One night, as the sun was coming up (and as was I), a drag queen took me back to her place. I didn't know the significance of what I was about to experience, but I was to receive an education no university course could ever match. The drag queen was a Liza Minnelli tribute act. She knew every beat of every Liza film, every concert, every move of choreography. She performed as Liza in all the bars around town. Now I was ordained by being welcomed into her home. This moment could be the plot of a movie with Blackpool as a beautiful backdrop to my coming out/coming-of-age fantasy The Muppet Show That Changed Everything Was I ready to be indoctrinated? Very. She led me to the living room for a VHS screening of what I was told was one of Liza's finest performances. I was expecting Cabaret, the winner of eight Academy Awards, but not on this occasion. She sat me on the sofa and played Episode 414 of The Muppet Show from 1979, with special guest the one and only Liza Minnelli. The premise works so beautifully for exactly the same reason that The Muppet Christmas Carol is so beloved. In that film, Michael Caine gives the performance of his life in a movie almost entirely populated by felt characters, and in her guest episode Liza matches him in commitment. Take the musical number Copacabana she performs: the curtain goes up and Liza is smoking. She is the narrator, the storyteller, in a Funny Face-esque black polo neck that gives a real sense of gravitas to those Barry Manilow lyrics. Moments later, she is Lola, dancing with human-sized muppets. Or in another scene Liza holds Kermit while they sing A Quiet Thing together. Their connection is pure and tender, a thing of simplicity and gentleness. A Career Born from Inspiration As I reflect on this story nearly 20 years later, I am now 10 years sober and while life might well be a cabaret, the decadence of my early youth is firmly in the past. But I think back to this moment, which could be the plot of a movie with Blackpool as a beautiful cinematic backdrop to my coming out/coming-of-age Technicolor fantasy. I didn't know at the time, but this incident set me on the path to my current profession. Four years later, in 2011, I started making cabaret performances in south London at the famed Royal Vauxhall Tavern at nights such as Duckie, where my turns were packed full of wigs and jockstraps, fake blood and mascot costumes. In 2015, I joined the international circuit when I became part of big touring pieces of variety and circus spectacle, showing off in the US, Australia, New Zealand and London's glittering West End. I once performed a 107-hour durational piece in drag at Glastonbury and at the Adelaide fringe, as a teenage girl who wouldn't leave her bedroom. A Lifelong Dedication to Liza's Legacy Ever since that fateful night back in Blackpool in the 2000s, Liza has been a hero of mine. I saw her live in concert at the Royal Festival Hall in London in 2013. I have a Liza tattoo on my right thigh. Back in 2019, I did an eight-hour performance in an old deconsecrated church in Brighton, dressed as Liza Minnelli, performing her album Results in full, emulating through endurance art Liza's beautiful commitment to performance. Pet Shop Boys, who produced Liza's Results album, even heard about what I was up to and said my performance sounded great. The Enduring Impact of a Single Performance And if you ever see one of my shows, please understand that the technical foundation of my performances isn't drama school training or Stanislavski; it's Liza on The Muppets. Truth be told, I don't know where the drag queen in the story is now. I hope she's OK, but if I did see her I'd say: "Thank you for changing my life." Harry Clayton-Wright's show Mr Blackpool is at the Grand theatre, Blackpool, 20 May.

The LeadHoward Ashman and Alan Menken's cult musical Little Shop of Horrors receives a solid production from Northern Stage and Derby Theatre that embraces its B-movie roots while introducing pioneering accessibility features through creative captioning. The production balances kooky romance with doo-wop musical numbers, though it scales back some of the original's darker elements.The B-Movie ProductionDirected by Sarah Brigham, this production deliberately maintains the low-budget aesthetic from Roger Corman's 1960 film, which is considered core to the musical's charm. The story follows Seymour, a struggling florist whose fortunes change when he discovers a mysterious, bloodthirsty plant named Audrey II. While the production is solid, it's not described as sparkling, with humor and sensitive elements like Audrey's domestic abuse being toned down compared to previous versions.Pioneering Accessibility Through Creative CaptioningWhere this production truly innovates is in its use of creative captions designed by Ben Glover—a still-rare feature in UK theatre. Rather than simply providing accessibility, Glover incorporates the captions into the fabric of the show, using chunky, horror movie-style lettering and cartoonish speech bubbles that appear on screens behind the action. This approach makes the staging both accessible and entertaining, enhancing rather than distracting from the performance.The Split Performance of Audrey IIA key creative decision in this production is the split portrayal of Audrey II, the carnivorous plant that grows from a small bud into a monstrous entity. Tasha Dowd provides soulful vocals from off-stage while Ross Lennon operates the increasingly bulbous foam puppet from within. This dual approach allows for both vocal performance and physical manipulation, creating a unique interpretation of this iconic character.Visual Design and Musical PerformanceDesigner Verity Quinn employs a color palette referencing the flesh-eating flytrap, with petal pink and stem green elements appearing in costumes, the flower shop set, and the street beyond. The cast of actor-musicians delivers broad New York accents to the doo-wop and rock'n'roll favorites. Kristian Cunningham's Seymour channels Rick Moranis's 1986 film portrayal, while Amena El-Kindy's Audrey presents a less wispy interpretation than Ellen Greene's original film version. Their duet 'Suddenly, Seymour' showcases powerful vocal performances as they break through their timidity.The Future of Accessible TheatreThis production of Little Shop of Horrors demonstrates how accessibility features can be integrated into theatrical storytelling without compromising artistic vision. The creative captioning approach by Ben Glover sets a precedent for future productions seeking to make theatre more inclusive while maintaining its unique magic. As UK theatre continues to evolve, innovations like this may become more commonplace, expanding audiences and redefining how stories can be experienced.

The LeadEnsemble Modern and HK Gruber's album "Dancing on a Volcano" presents an eclectic snapshot of musical Germany between 1920 and 1933, capturing a creative era that would be suppressed by the Nazi regime. This live recording features works by composers who ultimately fled Germany, their music deemed "too modern, too jazzy, too Jewish" by the rising fascist power.The Musical Landscape of Pre-War GermanyThe album showcases four distinct voices from this turbulent period. Hindemith's Kammermusik No 1, premiered in 1922, was controversially described as having "a lewdness and frivolity only possible for a very special kind of composer." Gruber's performance embraces its neo-classical spikiness and jazz-age energy with almost cartoonish glee.In contrast, Korngold's 1920 music for Shakespeare's Much Ado About Nothing represents Viennese neo-Romanticism, which Gruber leavens with a pinch of acerbic wit. Schoenberg's Accompaniment to a Cinematographic Scene, premiered in 1930 under Klemperer, offers eight minutes of existential angst in Johannes Schöllhorn's lean-textured 1993 chamber version.The Historical Context and Cultural SignificanceThe period represented by this album—1920 to 1933—encompasses the Weimar Republic, a time of extraordinary cultural flourishing in Germany despite economic and political instability. The featured composers represent the diversity of musical expression during this era, from Hindemith's modernism to Korngold's Romanticism to Schoenberg's atonality.What makes this recording particularly significant is how it captures music that would soon be suppressed by the Nazi regime. The album's title itself, "Dancing on a Volcano," evokes the sense of living on the edge of catastrophe that characterized this period.The Legacy of ExileAll four composers featured on this album ultimately left Germany and settled in the United States, forced into exile by the Nazi regime. Their departure represented a profound brain drain for German musical culture, as these composers had been at the forefront of musical innovation.The jewel in the crown of this recording is Gruber and Christian Muthspiel's Kurt Weill Foundation-sanctioned arrangement of The Seven Deadly Sins. Wallis Giunta's performance, more opera diva than Weimar chanteuse, delivers no shortage of bite, while Amarcord's male quartet kvetch and wheedle as her rapacious family. Gruber's razor-sharp yet flexible interpretation drips idiomatic venom.Contemporary Relevance and Musical ResilienceThis album serves as both a historical document and a vibrant musical experience. The works featured demonstrate not only the creativity of this period but also the resilience of art in the face of political oppression. By recording these pieces today, Ensemble Modern and HK Gruber ensure that this important chapter in musical history continues to be heard and appreciated.The recording is available on streaming platforms, making this historically significant music accessible to new audiences who might otherwise never encounter these works. In an era where political polarization once again threatens artistic freedom, this album serves as both a reminder of what was lost and a celebration of what endures.

The Lead Kevin Morby's eighth album "Little Wide Open" presents a contemplative journey through the complexities of life, love, and identity, rooted in his midwestern upbringing. The album showcases Morby's signature Americana style while embracing vulnerability and uncertainty in both lyrics and production. The Musical Landscape of "Little Wide Open" The album opens with "Badlands," a track that juxtaposes the harsh imagery of the American midwest with surprisingly laid-back musical elements. Morby's conversational vocals and gentle guitar riffs create a contrast with lyrics that reference both "the big disaster we call home" and the possibility that "heaven is a place on Earth beneath the golden sky." This duality sets the tone for an album that embraces ambiguity and complexity. Musically, Morby primarily works in introspection and understatement, building on his foundation of Americana influenced by Bob Dylan, Lou Reed, Tom Petty, and Leonard Cohen. While his previous work has touched on soul and jazz elements, "Little Wide Open" returns to his core sound with subtle pleasures rather than flashy moments. Tracks like the title track and "Natural Disaster" both exceed seven minutes, allowing songs to gradually unfold and inviting listeners to sit with the music. The Collaborative Production The genesis of "Little Wide Open" offers insight into Morby's respected position in the music industry. The National's Aaron Dessner, whose production credits include work with Taylor Swift and Noah Kahan, approached Morby to collaborate on the album. Dessner has shared Morby's music "with everyone I've ever worked with," indicating high regard for the artist's craft. The album features an impressive supporting cast, including Justin Vernon of Bon Iver imitating a tornado siren with his voice and alt-country star Lucinda Williams delivering a monologue on "Natural Disaster." Additional contributors come from Muna, Sylvan Esso, Florence + the Machine, and Perfume Genius, creating a rich tapestry of sounds that reinforces Morby's Americana foundation. Themes of Vulnerability and Transition Morby has described "Little Wide Open" as his "most personal and vulnerable album," created as he approaches fatherhood with his partner Katie Crutchfield of Waxahatchee. The album captures the doubts and uncertainties that accompany this life transition, as evidenced in "Javelin" where he questions, "Am I a has-been? Am I a husband?" The album explores the push and pull of one's hometown, balancing comfort and nostalgia with feelings of not quite fitting in. Morby captures this tension in "Cowtown" with the line, "Where no one ever makes a sound except me on this guitar," a bluesy acoustic punctuating the austere sound. Similarly, "Natural Disaster" examines mood swings as either something to be managed through medication or meditation, or simply as natural occurrences like landslides that fuel his songwriting. The Art of Introspective Songwriting "Little Wide Open" demonstrates Morby's mastery of introspective songwriting that embraces uncertainty rather than providing definitive answers. The album creates a "welcome safe space for admitting you're not sure; that things are complicated," particularly valuable in a climate that tends to extremes. Key tracks showcase this approach: the lovely melancholy exhalation of the title track's chorus, the banjo-assisted closer "Field Guide for the Butterflies" that gradually builds from fragility to something tougher, and the beautiful piano and clarinet motif running through "Junebug." Even the more climactic moments, like the maelstrom of noisy guitar in "100,000," serve the album's overall theme of emotional complexity. Legacy and Future Directions While Morby has never achieved massive commercial success or written a breakout crossover hit, "Little Wide Open" reinforces his status as a respected artist within the indie and Americana scenes. The album's critical reception and high-profile collaborators suggest that Morby's thoughtful, introspective approach continues to resonate with both musicians and listeners. As Morby navigates fatherhood and continues to explore life's complexities through his music, "Little Wide Open" stands as a testament to his growth as an artist unafraid to embrace vulnerability and uncertainty. The album's blend of midwestern storytelling, musical craftsmanship, and emotional honesty positions Morby as a distinctive voice in contemporary Americana.