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Fun may seem like a relative term for a singer who performs fragile, melancholy songs in dim stage light and doesn’t allow photographers, though cell phones rose like stars in her galaxy to record videos.
Looks at new music from Joel Ross, Al Foster, John Vanore & Abstract Truth, Tomeka Reid Quartet, and John Ellis & Double Wide.
Stealing the future and concealing the theft — capitalism’s method, which, according to this well-argued book, is incompatible with sustaining the global climate and democracy.
The film’s intellectual friskiness is everywhere, and at times it takes centerstage at the expense of the story.
“Achieving some sort of balance is key; to capture the heart and soul of who we are, and to present that on our stages, so that we continually challenge audiences and surprise ourselves.”
This week’s poem: Jillian Boger’s “I Never Learned How to Speak”
Director Tony Estrella’s version of Ibsen’s tragedy smooths out an energetic path — the action moves along with compelling alacrity.
Reviews of “Josephine,: the film that won Sundance’s top award for 2026 and of “Aanookibijigan” and “The Gallerist”.
This hybrid narrative laces romantic adventure with a bit of horror, the supernatural, and mathematical derring-do—all within an increasingly realistic depiction of the times and of the people who survived them.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy
At a moment when arts and culture, public education, historical memory, and American democracy itself are under coordinated attack, silence is not a neutral posture. It is a decision with consequences.
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