Review
Howard Hersh hails from northern California, and, as in John Adams’ “City Noir,” the music on Hersh’s album, “Angels and Watermarks,” embraces polyglot West Coast culture in various ways.
Read MoreFor once, in Ronald Reagan’s America, youthful talent and energy seemed able to trump everything else.
Read MoreBoston’s MFA should be congratulated for screening these Technicolor musicals in way that does wondrous justice to their eye-popping colors.
Read MoreAt last — industrial music made by real industrial machines played in a real industrial setting.
Read MoreThe best corned beef in the Boston area by far is, get this, at an Italian lunch joint in Downtown Crossing, Sam LaGrassa’s.
The Black Keys clearly wanted to write moody, trippy, mostly hookless tracks, and as far as moody, trippy, mostly hookless tracks go, the ones on Turn Blue aren’t so bad.
Read MoreWhile 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.
Read MoreGiven its its male-weepy genre, the “inspirational sports movie based on a true story,” Million Dollar Arm is surprisingly enjoyable.
Read MoreHaving glittery, Bettie Page-y young women clad in leather and thongs undulate to music by Tom Waits is pretty much guaranteed to work.
Read MoreMark Morris’ choreography for his 18-member ensemble alternates between joyful ring-around-the-rosy and contra dance circles.
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