Ai WeiWei Directed, From Europe, A Film About Wuhan’s Drastic Shutdown

His team sprang into action and got censor-free footage that seems impossible. “The hardest footage to shoot was inside the I.C.U., Ai said, but he could not divulge how it was filmed. He said much of it was done with hand-held video cameras about the size of a smartphone that are able to stabilize images. It helped, he said, that many people were wearing masks: That made them feel less nervous about getting in trouble for speaking on camera.” – The New York Times

British Women Artists Are Still Massively Underrepresented On UK Radio

It’s bad from the singer side – 51 percent of the top 100 songs were by solo male acts, and only 19 percent were by solo female acts – but it’s shockingly horrible from behind the scenes, where 80 percent of the songwriters were male. One songwriter: “To see that women feature so low across the board in this industry is devastating and something I feel every day working in music.” – The Guardian (UK)

The LA Phil Tries The Online Route

The Hollywood Bowl couldn’t have audiences – but the musicians could be there, distanced, and the orchestra took advantage of its city’s geographical advantages. The concerts were only “possible in the age of the novel coronavirus because the [Hollywood Bowl] stage is about 5,700 square feet— more than twice the size of the Walt Disney Concert Hall stage — and completely outdoors, but for the partial cover of the shell. All participants, including artists and tech crews, were tested for COVID-19 prior to filming and stayed at least 6 feet apart onstage.” – Los Angeles Times

Nothing, Absolutely Nothing, Can Beat Live Music

The first concert since lockdown is definitely special (not that it’s weird to be masked and distant anymore; it’s simply exciting to be there). “It’s been difficult but clarifying to see how mightily classical music struggles in an online-only format. Experiencing sound in person, among others, turns out to be even more essential than I’d assumed. This art form has long been devoted to recordings — but always as a counter, an implied (or screamed) comparison, to real performances.” – The New York Times