Misty Copeland Talks About Being Promoted To Principal At ABT

Ms. Copeland said she had been pleased to see more racially diverse audiences turn out at some of her performances in the past year. “From the day that I met my manager, Gilda Squire, she asked me, ‘What do you want to do?’ ” she recalled. “And I said, besides continue dancing at A.B.T., I want to bring more people to ballet, I want to see more people that look like me on the stage, in the school, and in the audience — on the board.”

Netflix Isn’t Trying To Change TV, It’s Thinking Post-TV

“That all-at-once drop of House of Cards, for example, illustrates part of what Netflix has that television doesn’t. “It was not meant to be the template” for how Netflix would release shows, Sarandos said. “It was just, Let’s see how people watch it.” They had the flexibility to try something that would never work on TV, and the data to see immediately how users responded.”

What Tech Startups Can Learn From The Art Market

“The art of the startup and the business of art are flip sides of the same creative process. The Gagosian Gallery and Kleiner Perkins use the same method to spin creativity and value out of manmade volatility. The goals of this volatility are twofold: primarily to create disruptive innovation that generates the unique, the original, and the most valuable; and next to raise the price paid for the new value, whether it is a Monet or an Airbnb IPO.”

A 60-Year-Old Infographic That Explains Disney’s Strategy Today

“Today, the network is larger, there are more platforms, and the path to success can get awfully messy, but the basic strategy is the same. Instead of following the model of other studios—releasing many films and hoping for a blockbuster—Disney is select. It releases about 10 films annually and builds out the franchising and revenue-generating opportunities that come with the territory.”

How Video Game Music Has Changed Our Pop Music

“We are accustomed to thinking about pop music in terms of its most familiar metadata: songs and albums, scenes and artists. But what about all the other, seemingly incidental music that gets lodged in our heads, from commercial jingles to sitcom soundtracks? Could it be that the largely unknown Kondo, Nintendo’s first dedicated sound designer, was one of the great innovative forces of our time?”