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Music Interview: The Nitty Gritty Dirt Band Turns 50

May 6, 2016
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Amazingly, the group’s 50th anniversary tour features three of the original members: lead singer/guitarist Jeff Hanna, string player John McEuen, and drummer Jimmie Fadden.

Theater Review: “Legally Blind: The Helen Keller Musical” — Burlesque, Visually Impaired

May 6, 2016
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Legally Blind contains sufficient satiric sting because it takes aim at the current fashion for musicals in which handicapped souls are healed.

Film Commentary: The IFFBoston — Documentaries Focusing on the Marginalized

May 6, 2016
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The IFFBoston’s commitment to films about marginalized communities is turning the festival into an essential cultural event.

Music Review/Commentary: Anat Cohen’s Tentet & SFJAZZ Collective — Strength in Numbers

May 5, 2016
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Jazz groups of eight to eleven often make fascinating and unusual music, but they rarely survive.

Music Review: New Orleans, Tradition, and Mingling the Trashy and the Transcendent

May 5, 2016
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But dissonance is at the edge of everything you hear at the New Orleans Jazz & Heritage Festival — a sound that contains multitudes.

Music Interview: Soul Singer Freda Payne Goes Back to her Jazz Roots

May 4, 2016
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While Freda Payne still sings “Band of Gold” on soul package revues, she has recently rekindled the jazz side of her career.

Fuse Film Review: “The People vs. Fritz Bauer” — The Trials and Tribulations of a Nazi Hunter

May 3, 2016
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Reality is the driving force behind the suspense in this film’s look at the lurid underbelly of post-war Germany.

Dance Review: Swans’ Return at Boston Ballet

May 3, 2016
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Even the hippest of us can succumb to a deep longing for harmony, lush orchestration, and magic.

Concert Review: Mezzo-Soprano Susan Graham — An Explosion of Love Songs

May 3, 2016
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A vital part of  Susan Graham’s appeal is her winning personality; she makes a recital hall audience happy to be here before she sings a note.

Literary Appreciation: “The Passion for the Thing” — An Argument for Writer Harry Crews

May 2, 2016
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The Southern-inflected melee of Harry Crews’ universe is like a Hieronymus Bosch canvas dipped in whiskey and flour and deep-fried.

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