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While I heartily recommend “Sixties Surreal” as a provocative revisionist compendium or almanac, I know the volume will frustrate those who expect to find a conventional survey.
The book argues, convincingly, that Sid Caesar’s genius wasn’t in what he did or said so much as in the anarchistic energy he encouraged his writers to unleash and harness.
Our expert critics supply a guide to film, visual art, theater, author readings, television, and music. More offerings will be added as they come in.
The question was how well these mid-20th century works would hold up and how, with the passing of time, those dances would look to both familiar and fresh eyes.
The true star of the Lyric Stage production is Aimee Doherty, who is marvelous in the role of Penelope.
In this exhibit, curator Robin Hauck celebrates ten Boston-area artists who resist the relentless distractions that contemporary life imposes on all of us.
Perhaps “The Moment” did manage to nail one truth about the music industry: when fame and opportunity come knocking, it’s near impossible not to wring out every drop of profit.
Mary Helen Washington’s biography of Paule Marshall provides a thorough consideration of the writer’s achievement and a convincing case that her fiction and her public speeches deserve continuing attention and respect.
Backbeats is a detailed and informative story. Each profile functions as an entry point into a selective but substantial survey of roughly seventy-five years of rock history.
The intention isn’t to provoke, eroticize, or sexually titillate. Devoid of the kinds of melodramatics that play into the fujoshi fantasy that’s all the rage right now, “Pillion” is a film about fetishes that never fetishizes its subject matter to placate an outsider’s gaze.
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