September 18, 2026
How much AI is too much? Put it on a dial
There's no universal line — so stop looking for one and set it per project. Decide up front how much AI you want: none, assistive only, or generative — and record which you chose.
Read →What we're building, what we're learning, and the people making musical theater with it.
There's no universal line — so stop looking for one and set it per project. Decide up front how much AI you want: none, assistive only, or generative — and record which you chose.
Read →Start a catalogue raisonné now — a running record of every piece you make, dated and described. Don't wait for a curator or the end of your career. It isn't a monument; it's a laboratory notebook.
Read →In a world drowning in AI output, the scarce thing isn't a good song — it's a work that's provably yours. Dadbot Studio is built for authorship, not generation: make it, own it, prove it.
Read →Because success was never the goal — learning is. Keep a record of what you make, and every piece teaches you something, including the failures. Learning is guaranteed; you can't fail at it.
Read →Yes — if you directed the work and can show what the tool did. Authorship was never about whether a machine touched the piece; it's about who decided, and whether the record proves it.
Read →Chromatic Fusionism® is the artistic method Stephen Shooster (Shoosty®) coined for his own practice. On closer examination it is not a claim about how the work looks — it is a claim about how an artist comes to know things, and it places the practice inside a four-hundred-year-old argument.
Read →Final Draft is for screenwriters. Dadbot Studio is for musical theater composers — a place to write the book, hear the songs, and hold the finished work in your hands.
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