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The journey of Anders Zorn, from Swedish hamlet to the top echelon of society portraitists and back again, has a couple of messages for us. The first leg of the journey tells us that careerism is not a new phenomenon in the art world. The second tells us what it may be worth in the end.
Beyond the Hills is not the horror film the trailer seems to advertise, but it is certainly horrific.
In the end, it is not the brilliance of his criticism or the strength of his prose for which we will remember Roger Ebert, but his humanity and his love—for film, for life, and, most of all, for people.
Yesterday the folks behind Rdio.com, the online music subscription service, started unveiling Vdio, an online video rental and sales service.
It was while watching the NCAA Men’s Basketball tournament that I stumbled upon an interesting trend: non-American rock music being used in American advertising campaigns.
“Once people hear this music they do indeed come back for it – it is pleasing on so many levels: it soars, it soothes, it excites, it transports.”
It is April in New England and for local music that means one thing, it’s time to RUMBLE!.
This week the Cunningham Dance Foundation released The Legacy Plan, a series of steps to document and preserve Merce Cunningham’s choreographies.
The once proudly and authentically counter-cultural paper The Boston Phoenix went out ugly, fawning on mobster Whitey Bulger.
The Boston Camerata proffers a constant sense of discovery and rediscovery, of unusually lively musicianship and scholarship, and a sprightly sense of the humanity – and the snarly complexity – behind the music it performs.
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