To be killed — as in murdered — by police you don’t necessarily have to be a person of color.
Antônio Carlos Gomes’s Lo Schiavo (The Slave) receives its first major recording — and stakes its claim in the repertory.
“We will step to the edge of our humanity, expressing the commonalities that we all share, the threads that bind and connect us all.”
Feels Good Man is a provocative, entertaining, and moving documentary about an artist trying to retain his identity along with the innocence of the cartoon character he created.
Long live Fluxus, with its questionable boxes of ephemera, its baggy bags of soil, and its mad prankster sensibility.
Humankind, at the very least, compels us to rethink fashionably pessimistic assumptions about human nature.
For some reason, Aggretsuko riffs on Japanese idols in its third season, and the shift makes the show less appealing.
A Mother Cow of jazz iconoclasts takes on German lieder, because why not?
I heartily recommend M.M. Blume’s excellent Fallout, which ably synthesizes large amounts of archival, historical, and biographical material from three continents.
Down in the Weeds, Where the World Once Was is a natural next step forward for Bright Eyes, evolving while remaining true to their core identity.