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Some of “The Prison Industry”‘s most devastating material appears in the section of the book exposing the lack of acceptable health care in jails and prisons.
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Stripped of trip-hop trappings, Beth Gibbons’s fragile voice commanded through a ghostly filter effect as she sang with edgy emotion, peaking in the tagline, “How can it feel this wrong?”
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Reluctant to explain the meaning of her art, Leonora Carrington chose to let the magic and mystery of her inner life reveal itself through the imaginary animal/human creatures and fantastic landscapes of her paintings.
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Despite — or maybe because of — all the global turmoil, an awful lot of compelling music was heard at Big Ears.
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Despite all the Boston Lyric Opera pageantry and talent, “Carousel”‘s trip to the 21st century turns out to be bumpy.
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Kudos to Delacorte Press for publishing not one but two middle-grade books about the dangers of book banning.
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This is the most slickly engaging of Mfoniso Udofia’s scripts so far, its domestic melodrama enlivened by welcome humor, detailed characterizations, and moments of pathos.
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Director Victoria Verseau’s Trans Memoria is an oneiric, brutally frank meditation on the pains and rewards of transgender surgery.
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The apocalyptic overtones of the Mekons’ music come across as alarmingly real as ever.
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Three powerful albums showcase the imaginative visions of Arturo O’Farrill, The John Santos Sextet & Friends, and Rachel Therrien’s Latin Jazz Project.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues