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Vicky Osterweil examines how Unca Walt’s empire imposes a politically dangerous, patriarchal form of homogenization across all its intellectual properties—from the Marvel Cinematic Universe to cartoons, to “Star Wars” films and shows, and to amusement park “experiences.”
What may look at first like exercises in verbal acrobatics — closely rhymed sonnets, delicate madrigals, intricate sestinas — are simultaneously expressions of confessional, personal anguish.
The messaging and its delivery were never self-righteous — Puscifer provoked rather than preached.
This is one of the most welcome, ear-opening recordings I’ve heard in recent years, easily capable of restoring Ferdinand Hiller to the position he once held as the composer of highly accomplished, enjoyable, and intriguing works.
A renovated and flexible performance space with unlimited free parking is what every theater company from Boston to Portland dreams of.
Ed Meek’s ability to harness language and cadence is comparable to watching a cowboy harness a wild mustang.
A pair of eminent lives — celebrated.
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.
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.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein
In Boston, Leonard Bernstein might have sustained Serge Koussevitzky’s bold adventure—and changed the course of American classical music. Today’s Boston Symphony is adrift
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