RISE FESTIVAL INTRODUCES 'THE PATH' MEDITATIVE JOURNEY AND IMMERSIVE, LARGE-SCALE ART INSTALLATIONS
LAS VEGAS, May 23, 2025 /PRNewswire/ -- As RISE Festival returns to the Mojave Desert for its 10th anniversary on October 3rd, 4th, and 5th, 2025, it is unveiling a visionary new experience for guests entering the festival grounds: The Path, an immersive, meditative journey through light, sculpture, and sound, that sets the tone for transformation before the first sky lantern is released.
Anchoring this expanded artistic offering are large-scale installations by three of the world's most acclaimed visual artists: HYBYCOZO, Whitaker Studio, and This is Loop. Their towering works of light, motion, and interactivity invite guests into a shared space of awe, reflection, and play—defining a new visual era for RISE.
"This year, we wanted the experience of arriving at RISE to feel like crossing a threshold," says RISE Art Director John Connors. "The Path is the first step into the world of RISE—a moment to slow down, take in the surroundings, and enter a shared space that invites curiosity, reflection, and hope."
The Path: A Curated Ritual of Arrival
Guests entering RISE Festival begin their journey with presence and stillness. The Path is a carefully curated experience of sculptural installations and wellness retreats designed to ground and uplift. It features:
RISE Meditation Halos — beautifully designed wooden pergolas outfitted with daybeds and soft linen drapes, offering guests a tranquil space to relax, breathe, and meditate in the breathtaking Mojave Desert landscape.
This serene threshold prepares the mind and body for the celebration that follows, creating a sense of purpose and intention from the very first step onto the festival grounds.
New and Returning Artistic Experiences
RISE's creative journey continues across the festival grounds with powerful new installations and returning favorites:
"Trillion" by HYBYCOZO – The acclaimed duo Yelena Filipchuk and Serge Beaulieu present towering geometric sculptures that explore the harmony of math, science, and natural patterns. As dusk falls, their structures radiate with internal light, casting evolving shadows that echo RISE's core themes of connection and transformation.
"Diamonds on the Desert" by HYBYCOZO – A collection of five geometric sculptures inspired by pyrite crystal formations. The largest stands over 12 feet tall. By day, their golden forms echo the desert's natural beauty; by night, internal lighting casts intricate patterns that transform the landscape into a luminous, meditative field.
"Desert Winds" by Whitaker Studio – Lyman Whitaker brings his celebrated kinetic wind sculptures—elegant, meditative works that dance with the desert breeze— to RISE, reminding visitors of their elemental bond with the natural world.
"Pulse" by This is Loop – The UK-based collective delivers kinetic, playful installations of light and energy that spark curiosity, joy, and movement—perfectly aligned with RISE's communal spirit.
"Mirrors of Reflection" by The RISE Collective – A new signature piece composed of 24 towering mirrored structures surrounding a central monolith inscribed with poetry. This striking ensemble becomes a sanctuary of introspection, poetic stillness, and shared reflection.
"Moons on the Horizon" by The RISE Collective – Two 10-foot steel moons, softly illuminated at the desert's edge, bringing a celestial glow to the landscape, symbols of duality, cycles, and the quiet mystery of the horizon.
"RISE HIGHER" by The RISE Collective – Four massive steel structures spelling out the word RISE, emerging from the desert floor, creating a bold and iconic photographic moment for festival guests.
Together, these installations and The Path form a spiritual and visual gateway into RISE's milestone 10th year: a curated passage through beauty, silence, and inspiration that invites guests to fully arrive in the present moment. These immersive environments deepen storytelling and personal expression, enriching each guest's experience under the open desert sky.
A World-Class Musical Lineup
RISE Festival also features an extraordinary musical lineup with global icons RÜFÜS DU SOL, Calvin Harris, and John Mayer, each delivering transformative performances in one of the most inspiring natural settings on Earth.
Ticket packages for the 10th RISE Festival are available in Silver, Gold, Platinum, and Diamond tiers. For tickets and more information, visit www.RISEfestival.com
About RISE FestivalFounded in 2014, RISE is the world's largest sky lantern festival—a collective celebration that blends art, music, and light in an unforgettable shared experience in the Mojave Desert south of Las Vegas. Returning for its 10th anniversary October 3, 4, and 5, 2025, RISE is a luminous celebration of light, sound, and soul, bringing people together in a shared journey of elevation and joy.
As a non-profit charitable event, RISE is a collaborative art project dedicated to advancing the arts through education, appreciation, and financial support for emerging artists around the world.
Visit www.RISEfestival.com for more information.
Media Contact:media@risefestival.com
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Boston Globe
2 days ago
- Boston Globe
‘This is what Dropkick Murphys has been about from the very start': Ken Casey talks punk rock, politics, and new album
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Time Magazine
26-06-2025
- Time Magazine
In Season 4, 'The Bear' Has—Quite Literally—Lost the Plot
This article contains extremely minor spoilers for The Bear Season 4. You can't go wrong putting delicious-looking food and the perfectionist chefs who cook it on TV. That was the lesson of Food Network's rise in the 1990s. It held true throughout the Y2K reality boom; stalwart competitions like Top Chef and Hell's Kitchen are still on the air after more than 20 seasons. Anthony Bourdain created his own subgenre of culturally aware, personality-driven food-travel shows that has persisted, since his death, in variations on the format from Padma Lakshmi, Stanley Tucci, Phil Rosenthal, and others. The streaming era has yielded a cornucopia of beautifully shot food programs: Chef's Table, Omnivore, High on the Hog, Salt Fat Acid Heat. All of which is to say that, though it's understood to have been a surprise hit, FX's The Bear was well placed to become the phenomenon it is. The rare scripted series set in a restaurant, its first two seasons combined all the enticements of the best nonfiction food TV with the propulsive tale of a grieving, Paul-Newman-lookalike master chef (Jeremy Allen White) who toils to transform his family's Italian beef joint into a fine-dining mecca worthy of a Michelin star. Like many popular food shows, The Bear makes for satisfying comfort viewing even when the narrative is lacking. Be that as it may, its fourth season, now streaming in full on Hulu, so exacerbates the stagnation that set in during Season 3 that it's bound to make all but the least demanding fans impatient. The show still looks scrumptious. But it has, quite literally, lost the plot. Following the frenzied efforts of White's Carmy Berzatto, in Season 1, to save The Original Beef of Chicagoland, formerly operated by his recently deceased brother Mikey (John Bernthal), and Season 2's transformation of the space and its staff in preparation of its rebirth as culinary destination The Bear, the third season chronicled the new spot's rough start. Carmy chose his work over his burgeoning relationship with Claire (Molly Gordon), pushing himself towards artistic excellence—and his employees towards madness—with a new menu every day. His unwillingness to compromise made the restaurant unfeasibly expensive to run, infuriating his investor, family friend Uncle Jimmy (a.k.a. Cicero, played by Oliver Platt) and making his sister and business manager Sugar's (Abby Elliott) life difficult as she welcomed a new baby. It also heightened Carmy's perennial conflict with Mikey's best friend Richie (Ebon Moss-Bachrach), whose charm eased his evolution from managing The Beef to running front of house for The Bear. Their fights in the kitchen threw dinner services into chaos. Said chaos forced Sydney (Ayo Edebiri), a talented and self-possessed young chef who once idolized Carmy, to consider leaving this restaurant she helped create to accept a job offer from a more stable competitor. But by the end of the season, no problems had been solved and few questions answered. Maybe this was a manifestation of the same streaming bloat that has also, recently, produced maddeningly incomplete seasons of hit shows like The Last of Us and Squid Game. To give The Bear the benefit of the doubt, which it had earned, was to interpret 10 episodes' worth of wheel-spinning as a stylistic choice underscoring the characters' own poor communication and fundamental stuckness. When the finale made the contents of a Chicago Tribune review its cliffhanger, it seemed as though movement was finally imminent. Unfortunately, Season 4—whose thematic throughline is Carmy and his family and colleagues mending broken relationships and making amends for the hurt they've caused each other—is just as inert. Carmy acknowledges as much in a premiere that finds him gloomily watching Groundhog Day on TV and complaining to pastry chef Marcus (Lionel Boyce) that he feels 'stuck in the same day.' The Trib headline reads: 'Bear Necessities Missing: The Bear Stumbles With Culinary Dissonance,' and the gist is that, while the food is interesting and ambitious, a lack of harmony behind the scenes makes the overall experience a crapshoot. Or, as Syd sums it up, 'The Trib ate here three different times at three different restaurants… They didn't like the chaos.' As usual, Carmy sees the situation through his own, depressive and self-absorbed, lens: 'I wasn't good enough, and I need to be better.' Whatever the core problem may be, the need for improvement is urgent. Spooked by the review, Jimmy and his numbers guy, The Computer (Brian Koppelman), come into the kitchen with a giant digital timer, counting down two months' worth of seconds. That's how long The Bear has to change its financial outlook or close. This challenge should've been enough to get the show cooking again. Weirdly, it isn't. Though the timer keeps ticking and graphs charting the restaurant's progress periodically flash across the screen, little of what actually happens has much to do with this race towards profitability. It's as though creator Christopher Storer has forgotten how to do the kind of thrilling service scenes that once made The Bear so addictive, painting plot beats and character development into the larger panorama of present-tense panic. Instead, in too many formless episodes, Season 4 favors quiet solo scenes (Syd perfects a dish amid dramatic lighting and a haunting St. Vincent track, in a set piece that looks lovely but has nothing new to say) and earnest two-handers. These one-on-one conversations sound remarkably similar to one another. Everyone is always expressing profound truths from the very bottom of their soul. And what they're conveying, more often than not, are truisms or self-help koans: 'People are not so different.' 'It's realizing the capacity to love that matters.' 'There is probably one really true thing about restaurants… You are never alone.' As awards pundits never fail to notice, The Bear resists categorization as a comedy. Now, it's not only seldom funny; it also takes itself way too seriously. That shift in tone, from early seasons that moved fluidly between humor and wonder and angst to the relentless solemnity of the past two, has been particularly frustrating with regard to our hero. It's not hard to believe Carmy's a culinary genius, nor would the show work if he wasn't one. What's growing tiresome is his depiction as the ultimate tragic hero, noble and beautiful but cursed by the tragic flaw of his perfectionism, and specifically of his need to compensate for a bad childhood by proving he's the best to ever tweezer microgreens onto a blanket of foam. The camera lingers for too long on his pained, Grecian-bust features. His every line is freighted with meaning. White does as great a job as is probably possible of making this overly aestheticized archetype into a believable human being. It's not his fault that Carmy has gotten so boring. For proof, look to Season 4's best episode, in which he isn't even a presence. Directed by Zola filmmaker Janicza Bravo (every other episode this season credits Storer as director or co-director), it follows Syd on a day off spent getting her hair braided at the home of a stylist pal, Chantel, played by Danielle Deadwyler. A pragmatic, emotionally intelligent contrast to Carmy, Syd is still agonizing over whether to leave The Bear or become one of its partners. When Chantel has to run to the beauty supply store for more hair, Syd entertains—and, of course, tenderly cooks a meal for—her 10-year-old daughter, TJ (Arion King), who happens to be navigating a painful transition of her own. The episode is refreshing, thanks in part to Bravo's lighter hand and in part to the respite it offers from Carmy's wallowing. Standout installments of previous seasons have also spotlighted secondary characters, from Season 2's Richie-focused 'Forks' to line cook Tina's (Liza Colón-Zayas) origin story in 'Napkins,' from Season 3. The Bear should be leaning more and more on this great supporting ensemble, whose characters are rich with potential storylines, for longevity. To Storer's credit, the new season does dial back the distracting celebrity-chef cameos and, with Deadwyler among the few exceptions, shiny A-list guest stars. (A wedding episode features many of the same characters we met in Season 2's divisive family Christmas blowout, 'Fishes,' to which this sometimes-wonderful but excessively long, 70-minute montage of confessions and reconciliations is trying a bit too hard to be a sequel.) Still: Carmy's brooding leaves little time to venture into the lives of, say, Tina or Marcus. Like its predecessor, this season ends with the tantalizing suggestion of big, overdue changes to come. If the twist that's teased in the promising finale really does happen, it will be The Bear's most substantial—and, I think, most inspired—reset to date. If not, a show that has now been in decline for half its run risks devolving into a mess as self-indulgent, morose, and, well, dissonant as its title character.

Elle
24-06-2025
- Elle
Why Lorde's 'Solar Power' Is Severely Underrated
A few summers ago, my dear friend Nia and I were playing frisbee in Brooklyn's Prospect Park. Other friends were under a tree a few feet away, sprawled across some blankets and noshing on a spread of potluck dishes. They played cards, gossiped about some mutual friends, and jammed out to my highly curated playlist called 'Pristine Park Picnic.' When a light sunburn started to appear on my upsettingly pale skin, Nia and I sought refuge in the shade. As we approached the group, Lorde's 'The Path' began playing through the speaker. On that day, at 25 years of age and sun-soaked with my friends, I realized: I had found a sliver of happiness. I was living in the city I loved with people I loved, and found a spot of nature amid the bustle of New York. It was a rare perfect moment. For me, that memory is frozen in time. After the brutal New York winter (full of boy drama), the sunshine made it all worth it. 'Let's hope the sun will show us the path,' a then-23-year-old Lorde sang on the track, hoping for some clarity during the first glimpses of true adulthood. Solar Power, Lorde's third studio album, marked a departure for the singer. Previously known for her synth beats—as seen on her breakout album Pure Heroine and smash record Melodrama—this 2021 record introduced a vibe switch that became incredibly divisive among fans. It felt too acoustic, too hippie-dippy, too marijuana-infused. Even though critics applauded the album, they also likened it to 'a strange little paperbound spiritual text at a hippie bookshop' (Pitchfork) and claimed it 'stops just short of offering a full, varied range of expressions' (The New York Times). Later, in a newsletter she sent in 2022, Lorde said, 'It took people a while to get the album—I still get emails every day from people who are just coming around to it now!—and that response was really confounding and at times painful to sit with at first.' Even today, some die-hard Lorde fans still see the album as a stain on her discography. It earned no Grammy nominations, little praise, and a quiet No. 5 peak spot on the Billboard 200. So when she began to tease her latest album Virgin four years later, fans begged for a return to her synth-heavy style. However, looking back, I personally see Solar Power as a moment of light. On the album, Lorde works through some of the most profound moments of your mid-twenties. Many are just leaving college or home for the first time. They don't know who to trust, what to do with their life and career, or how to find joy and happiness. With Solar Power, you can feel Lorde facing this reality head-on. She's dealing with the existential threat of the environment falling apart and the inaction from leaders in power ('Fallen Fruit'); she's grappling with aging and wondering when she'll be out of touch with mainstream culture ('Stoned at the Nail Salon'); and she's also struggling with a major loss, in this case, her dog, Pearl ('Big Star'). Lorde talks about diet and wellness culture in 'Mood Ring,' and has since admitted she was dealing with an eating disorder while creating and promoting the album, which adds even more depth to the song. She also swims in nostalgia throughout the record, especially on the standout track 'Secrets from a Girl (Who's Seen It All).' Reflecting on a cursed relationship, Lorde essentially revisits her hit track, 'Ribs.' 'Couldn't wait to turn 15 / Then you blink and it's been 10 years / Growing up a little at a time then all at once / Everybody wants the best for you / But you gotta want it for yourself,' she sings, speaking to a younger version of herself who was worried about getting old and being alone. Growing up is realizing that you have to be your biggest advocate. You have to prioritize yourself. The album represents growth, maturity, and finally reveling in your own light. Lorde and I are roughly the same age, and whenever she releases an album, I think she distills the exact feeling of that time in my life. Pure Heroine examined the heavy burden of feeling like you're running out of time when you're 16; Melodrama examined falling in love and getting heartbroken for the first time, and how, at 19, you often feel untouchable. Solar Power talks about the terrors of true freedom, learning from your past mistakes, and pursuing your dreams. On this record, Lorde dared to let her dreams run wild—most notably on the track 'Oceanic Feeling'—hoping for a time when the world wouldn't be so messed up, praying for a lover who understands her, and wondering what her true self looked like. She wasn't afraid to look back to look forward, and to tackle the big questions. It's the perfect record for your mid-twenties, when you're creating your own island, where everything feels limitless. Thank you, Lorde, for showing us 'The Path.'