Posts
George MacKay’s astonishing turn lifts 1917 from pyrotechnical marvel to a shattering emotional experience.
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Audiences knew (or at least thought they knew) something was up, and that something was what made these performers unique.
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We are seeing some very fine horror these days. You can’t throw a (fire) stick without having it land in some rotting corpse, a spooky cave, or in a serial killer’s cup of coffee.
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If this collection has one failing, it is its attempt to make Flannery O’Connor into something she was not: “woke.”
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Following the stories of these unique, gifted, and sadly overlooked individuals can be as gripping as the music they made together.
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Milo Miles tests a long-held theory: that critic comments on why entries made it onto lists have little or nothing to do with whether readers track down and listen to the selected music.
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It’s Walker Percy’s subversive strategy to stick us with a decided non-hero and have us gradually appreciate his non-participatory status.
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This fascinating exhibition surveys the entire history of the National Academy membership and, almost incidentally, provides a potent cross-section of the history of American art and its discontents.
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This CD with British pianist Stephen Hough is a gem — and it was named Recording of the Month by Gramophone Magazine.
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In Fabric is a mesh of black comedy, horror, and art house psychedelia. I found it wildly original.
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Arts Commentary & CD Reviews: On The Kennedy Center, Ben Folds, & Gustav Mahler