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The risograph printer, a Japanese innovation from the 1980s, has captured the hearts of artists and creatives globally. This compact machine, produced by Riso Kagaku, allows for small print runs with a distinctive, handmade feel.Gabriella Marcella, a Scottish-Italian designer, fell in love with the risograph while studying at New York's Pratt Institute. She now curates Riso Club, a non-profit program promoting artists who use risographs. The club sends postcards featuring work from international cities, showcasing the riso community's global reach.The exhibition at Glasgow's Glue Factory Galleries celebrates the Riso Club's 100th issue with works from design heroes like Nathalie Du Pasquier and Peter Shire. Marcella hopes to demonstrate that design can be accessible, social, and connect people through print.Artists like Mari Kinovych and Kinda Ghannoum have used the risograph to showcase their cities, Kyiv and Damascus, in a unique and personal way. The risograph's political roots and ability to produce affordable prints have made it a staple in the art world.

Offset, the former Migos member, was wounded in a shooting outside the Seminole Hard Rock hotel and casino in Florida on Monday and is currently listed as stable while being closely monitored by medical staff.The incident occurred in the valet parking zone of the venue, according to the artist’s spokesperson, who confirmed that the rapper – whose legal name is Kiari Kendrell Cephus – was promptly taken to a nearby hospital.Law enforcement officials detained two individuals in connection with the case, and the Seminole police department issued a statement emphasizing that the location remains secure and poses no danger to the public.Details surrounding the motive or events leading up to the shooting have not been released, and investigators are continuing to gather evidence.Offset, who was previously married to fellow rapper Cardi B and shares three children with her, has been a prominent figure in the hip‑hop scene since the rise of Migos. The group gained fame with the 2013 hit “Versace” and later secured Grammy nominations for albums such as 2017’s Culture. Their chart‑topping collaborations include “Bad and Boujee” with Lil Uzi Vert and “MotorSport” featuring Nicki Minaj and Cardi B.The shooting revives memories of the 2022 murder of Migos member Takeoff, who was killed outside a Houston bowling alley. The alleged shooter, Patrick Clark, maintains his innocence and is slated for trial in November.In personal news, Cardi B filed for divorce from Offset in 2024, ending their secret 2017 marriage.Associated Press contributed to this report.

Harry Styles has announced the full programme for this year’s Meltdown Festival at the Southbank Centre, positioning the pop star as curator of a multi‑genre celebration that runs from 11 June to 21 June. In addition to headlining a solo show on 16 June at the Royal Festival Hall, Styles will perform amid his ongoing Wembley Stadium tour, while the festival showcases a broad spectrum of talent ranging from jazz to electronic dance music. The jazz segment features two sets by acclaimed US saxophonist Kamasi Washington: one dedicated to his album Fearless Movement and another titled “Jazz Legends Reimagined,” where he will reinterpret classic jazz compositions. Ethiopian‑born pioneer Mulatu Astatke returns after a farewell‑tour appearance, and the UK scene is represented by drummer Yussef Dayes and reed virtuoso Shabaka, who will join a collective of collaborators. Indie and rock offerings include LA band Warpaint (performing their sole gig of the year), British singer‑songwriter Nilüfer Yanya, and a mix of emerging and veteran acts such as Bar Italia, Stephen Fretwell and Getdown Services. Former Maccabees frontman Orlando Weeks will deliver a hybrid set of music and storytelling, while Devonté Hynes (known as Blood Orange) will present a classical‑inspired performance with musicians Adam Tendler, Cæcilie Trier and Tariq Al‑Sabir. On the pop front, rising stars Erika de Casier and Fousheé will provide some of the season’s most forward‑thinking tracks. The electronic roster spans ambient pioneer Beverly Glenn‑Copeland, an improvised collaboration featuring Jon Hopkins, Maddie Ashman and Leo Abrahams, high‑tempo EDM from Australia’s Ninajirachi, and a DJ set by James Murphy of LCD Soundsystem. A parallel programme of free, family‑friendly events will showcase “a mix of appearances from Styles’ favourite artists beyond music,” according to the Southbank Centre. Speaking about the festival, Styles said: “Music is my life; every artist involved in this year’s Meltdown festival means so much to me, both as a fan, and a musician. It’s a true honour to host legends who have paved the way for the generations that follow them, as well as new acts that have inspired me to push my creative boundaries.” Tickets become available on 9 April for Southbank members and 10 April for the general public, with the event promising a unique blend of established icons and cutting‑edge talent.

Universal Music Group (UMG), the world's largest music company, has received a takeover offer from billionaire Bill Ackman's hedge fund, Pershing Square. The deal values UMG at over €50bn (£44bn). Pershing Square, based in New York, has offered a cash and stock deal to acquire the business, which is home to renowned artists such as Taylor Swift and Elton John.Ackman stated that while UMG, led by British-born Sir Lucian Grainge, has done an excellent job in nurturing its artist roster and generating strong business performance, its share price has lagged due to issues unrelated to the performance of its music business. He specifically mentioned the delay in UMG's US listing, underutilization of its balance sheet, and uncertainty around the French conglomerate Bolloré Group's 18% stake in the company.Shares in UMG, listed in Amsterdam since 2021, have lost more than a quarter of their value in the past year. The company is one of the 'big three' record labels, alongside Sony Music Entertainment and Warner Music Group, with a diverse roster ranging from classical music to stars like Adele, Drake, and Ariana Grande.Ackman also cited a 'lack of investor credit' in the company's valuation of its €2.7bn stake in the music streaming service, Spotify. Pershing Square, which Ackman established in 2004, controls over $26bn in assets and bought a 10% stake in UMG in 2021.As part of the proposed deal, Pershing Square would add Michael Ovitz, a veteran talent agent, as chair, along with two representatives from Pershing Square to UMG's board. The deal would also involve a new employment contract and compensation arrangement for Sir Lucian Grainge. Under the terms, UMG would merge with a blank-cheque company set up by Pershing Square and then list on the New York Stock Exchange. Shareholders would receive a total of €9.4bn in cash and 0.77 shares in the new company for every Universal share they own, representing a 78% premium compared to the company's closing share price on Thursday.

The organiser of the Wireless Festival has reaffirmed that Kanye West, legally known as Ye, will appear on the bill, even as senior UK officials and Jewish organisations demand his exclusion over a series of antisemitic statements and admiration for Adolf Hitler.West’s controversial remarks, including a 2025 song titled “Heil Hitler” and the promotion of a swastika‑bearing T‑shirt, have drawn condemnation from MPs and prompted calls for a government ban. Bridget Phillipson, a senior minister, described his comments as “completely unacceptable and absolutely disgusting,” while Prime Minister Keir Starmer called the booking “deeply concerning.”Melvin Benn, managing director of Festival Republic, the promoter behind Wireless, said the artist is “intended to come in and perform” and stressed that the festival will not provide a platform for “extolling any opinion,” only for the songs that are popular on radio and streaming services. He added, “I am a deeply committed anti‑fascist… I lived on a kibbutz attacked on 7 October and support both a Jewish and a Palestinian state.”In a personal appeal, Benn invoked his experience with a family member’s mental illness, urging the public to extend “forgiveness and hope” to West, whom he described as seeking “second chances” in a “divisive world.” He also asserted that West has a legal right to enter the UK, though ministers are reviewing his entry clearance.Jewish leaders remain unconvinced. Phil Rosenberg, president of the Board of Deputies of British Jews, warned that Benn’s comments “will not reassure many within the Jewish community” and highlighted that West has “proclaimed himself a Nazi” while the festival stands to profit from his appearance.Political opposition has also weighed in. Liberal Democrat leader Ed Davey called for a ban on West’s entry, urging the government to act “tougher on antisemitism.”Commercial fallout has been swift. Pepsi and Diageo have withdrawn their sponsorship, and AB InBev announced it is pulling Budweiser and Beatbox support. PayPal confirmed it will no longer feature in the festival’s promotional materials.West has not performed in the UK since headlining Glastonbury in 2015, and his recent full‑page apology in the Wall Street Journal attributed his inflammatory remarks to bipolar‑1 disorder stemming from a 2002 car‑crash injury. Nonetheless, critics argue that a three‑day stage slot does not constitute a meaningful path to “health and healing.”

Keith Altham, a trailblazing music journalist and publicist, has passed away at the age of 84 after battling Parkinson's disease. He was a key figure in shaping the careers of some of the most influential musicians of all time.Altham began his career as a music journalist, writing for publications like The New Musical Express and Fabulous. However, it was his work as a publicist that earned him the most recognition. In 1971, he founded KA Publicity, which became a go-to agency for many of the biggest names in rock music.His impressive client list included The Rolling Stones, The Who, Marc Bolan, The Beach Boys, Slade, Status Quo, and Van Morrison. Altham's ability to understand the needs of both artists and journalists made him a natural at PR.One of Altham's most notable contributions to music history was suggesting the stage name Reg Presley for Reg Ball, the lead singer of The Troggs. He also famously advised Jimi Hendrix to set fire to his guitar during a concert, a stunt that became an iconic moment in rock music.Altham's relationships with musicians were built on trust and respect. He was known for his wit and candor, often providing Sting with candid advice during some of the most turbulent years of his career.Throughout his life, Altham was celebrated for his contributions to the music industry. He will be remembered as a pioneer in rock music PR and a true legend in British music history.

Renowned artist and stage designer Es Devlin is pioneering a unique approach to addressing AI ethics through her latest project, which combines ceramics and collaboration. At the AI and Earth conference organized by Devlin, a diverse group of artists, AI researchers, spiritual leaders, academics, and tech experts gathered at Oxford Kilns to discuss AI and create pottery.The conference, held in preparation for the opening ceremony of the Schwarzman Centre for the Humanities at Oxford University, aimed to foster dialogue and understanding among individuals with varying perspectives on AI. Devlin's approach emphasizes the importance of human connection and hands-on engagement in the digital age.Participants, including Alan Turing and Isaac Asimov, discussed the implications of AI on society, while Ethan Mollick introduced his concept of centaurs or cyborgs, describing how humans use AI for specific tasks or close collaboration. The event also featured a performance by the University Chamber Choir and a choral piece by Nico Muhly, inspired by the works of 17th-century theologian and poet Thomas Traherne.Devlin's installation, 360 Vessels, will be showcased at the Schwarzman Centre's opening festival, featuring 360 pots created by participants and the public. The project serves as a platform for exploring the intersection of technology, art, and human values.As Devlin noted, 'I am aware that my art and my words and my every choice, my presence, is being used to train the algorithms that concentrate wealth among a small number of individuals, and, in spite of this – however confusing, however painful – I would like to try to stitch my digital shadow back on to my feet and dance with it myself, and invite others to dance with it too.'

Elvira Notari—Italy’s first and most prolific female filmmaker—crafted a vivid portrait of early‑20th‑century Naples through melodramas such as È piccerella (1922). The film opens with bustling pilgrimage scenes at the Candelora festival, juxtaposing flamboyant revelry with stark images of poverty, a visual strategy that challenged the sanitized narratives favored by the fascist regime.According to film scholar Giuliana Bruno, Notari’s work was driven by a desire to document reality, exposing class tensions and gendered oppression that Mussolini’s censors deemed unacceptable. A 1928 censorship law explicitly banned Neapolitan films featuring “stallholders, beggars, urchins, dirty alleyways,” effectively silencing Notari’s authentic street‑level storytelling.Despite directing around 60 feature films—many hand‑coloured—alongside her husband Nicola at Dora Film, only three titles (A Santanotte, È piccerella, Fantasia ‘e surdato) and fragments survive today, a loss directly attributable to fascist suppression and the prohibitive cost of sound‑film conversion.The newly released documentary Elvira Notari: Beyond Silence, produced by Antonella Di Nocera and directed by Valerio Ciriaci, reconstructs Notari’s fragmented career by collaborating with contemporary “artisans”—photographers, visual artists, novelists, and musicians who reinterpret her silent‑film aesthetics. Ciriaci notes that the absence of personal archives made the film’s investigative approach essential, turning Notari’s silence into a creative catalyst.Critics emphasize Notari’s lasting influence on Italian‑American auteurs such as Francis Ford Coppola and Martin Scorsese. Elements of her chaotic street festivals anticipate the wedding scenes in *The Godfather* and *Goodfellas*, while her raw urban tableaux echo the gritty New York sequences of *Taxi Driver*.Beyond cinematic technique, scholars like Cristina Jandelli argue that Notari’s intertitles reveal a pronounced class consciousness and a critique of women’s marginalisation in early 20th‑century Italy. Her use of Neapolitan dialect and unvarnished depictions of squalor directly opposed the regime’s propaganda‑driven vision of a unified, pristine Italy.After Dora Film collapsed in 1930, Notari retired to Cava de’ Tirreni and died in 1946, largely forgotten until recent scholarly revival. The documentary positions her as a “symbol of the right to memories,” underscoring the ongoing relevance of silenced female voices in cultural history.*Elvira Notari: Beyond Silence* will premiere at New York’s Film Forum on 6 April 2026 and tour the United Kingdom throughout April and May, offering audiences a chance to reconnect with a pioneering filmmaker whose work was once erased by fascism.

House of Gloss invites viewers into the modest flat of Opal and Lana, a young trans femme couple living in Dundee. The walls are lined with photographs of spontaneous outings and vibrant sketches by Lana, a graffiti artist, while Opal’s makeup table holds an array of wigs that enable her drag performances after dark. Despite confronting pervasive discrimination outside, the couple’s home functions as a sanctuary of affection and mutual support.Director Mark Lyken adopts a gentle, slice‑of‑life visual style that feels less like a documentary and more like a personal visit. Intimate close‑ups and domestic scenes—cooking together, washing dishes—elevate ordinary moments into powerful expressions of love, especially given the pair’s history of family rejection. These simple gestures, captured with quiet reverence, underscore the resilience of their bond.The film also challenges conventional notions of family and home. In a striking sequence, Opal walks to a venue in full drag, confronting jeers and hostile stares that reveal lingering intolerance. By contrast, the documentary showcases the liberating atmosphere of queer club nights: neon lights, Lana at the DJ deck, and Opal dancing amid pulsating electronic beats. These scenes illustrate how safe, communal spaces serve as a vital “chosen family” for LGBTQ individuals.House of Gloss premieres on the True Story platform on 10 April, offering audiences a tender yet candid portrait of a modern queer partnership navigating love, identity, and community.