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Why does Laura Miller feel, given her belief that negative reviews are often useless, that she has to kick criticism while it is down? Why argue against the efforts of a small number of delusional reviewers in major publications who continue to speak fruitless negativity to the indifferent masses?
Unlike the rock star supporters of Pussy Riot, Garry Kasparov lives in Moscow, which means, given how the Putin regime has dealt with critics, he has a lot more to fear than, say, Madonna, who nevertheless should be applauded for speaking out at her Moscow concert.
Despite the high level of the players, there are things a professional quartet brings to a performance or recording—uniformity of sound and style—that cannot be matched by a group cobbled together and given limited rehearsal time.
It’s rather melancholy to think that this incarnation of the TMCO will never perform again as an ensemble. Such is the nature, though, of Tanglewood and many summer music festivals.
“New York Times” Book Critic Dwight Garner makes salient points about the need for incisive criticism, claiming that too much happy talk denies common sense and undercuts credibility. But the ‘gonzo’ masterwork “Fire the Bastards!” hammers the point home much more memorably.
Todd Solondz’s lack of commercial appeal as a filmmaker is understandable. His movies deal overtly with some of the most uncomfortable aspects of American life.
A mural painted on the side of a Big Dig ventilation structure in the Boston’s Financial District has generated enormous controversy.
Actor Jack Koenig never flags in the Peterborough Players production of “Present Laughter,” and around him in his London studio-flat swirls a churning world of impertinent employees and past and present loves that would do Kaufman and Hart proud.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein