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Doc Talk: Hammer’s Gaze, Rimbaud’s Renunciation — Unyielding Queer Legacies

April 5, 2026
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A pair of eminent lives — celebrated.

Book Review: Streetwear’s Conquest — Culture Captured, Politics Ignored

April 5, 2026
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Concentrating on the strategies that enabled casualwear to grow worldwide, the book ignores the broader historical and political conditions that encouraged that success in the first place.

Film Review: “Mother of Flies” — Nature is, Well, Healing

April 3, 2026
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This is pure cinema, unpretentious, rough-hewn, mystical, conjured from the earth, offered up at the forest altar of whatever flesh-and-blood gods are still listening.

Children’s Book Reviews: Happy Family Stories

April 3, 2026
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Three light-hearted books about family life reveal deeper meanings.

Theater Review: “The Comeuppance” — Reunions in the Age of Bad Choices

April 2, 2026
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The proceedings are continually involving, each of the performers supplying sufficient dramatic weight and interacting as a credible ensemble of characters rather than caricatures.

Music Festival Review: Big Ears 2026 — Guitars, Big Bands, and a World of Unhinged Sounds

April 2, 2026
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Over four days of listening (and walking), we found that the 13th Big Ears reaffirmed its reputation for daring curation—fostering a community of eager listeners always ready to discover something new.

Film Festival Roundup: Berlinale’s Political Palette — Red Hangars, Rose Rebels, Yellow Censorship

April 2, 2026
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This year’s Berlin International Film Festival was nothing if not political.

Weekly Feature: Poetry at The Arts Fuse

April 2, 2026
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The week’s poem: Jacqueline Waters’ “Us ‘n’ Nature”

Film Review: “Alpha” — A Plague‑Haunted Masterpiece of Memory and Marginalization

April 2, 2026
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AIDS made us strangers in our own lives. It took our world and made it foreign, putting us in the same socio-cultural no-man’s-land where “Alpha”‘s immigrant family is struggling.

Concert Review: Opera Meets Realpolitik — “Nixon in China” Resonates Amid the BSO’s Own Power Drama

April 1, 2026
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Last Friday night, conductor Andris Nelsons and the musicians came on stage together wearing red carnations as symbols of solidarity. The applause was immediate and fervent.

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