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This year’s Salem Film Fest spotlights the price of being a rebel.
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Moppa Elliott makes eminently approachable music at a very high standard, with great ingenuity and sophistication. He has proven himself to be one of the most inventive and creative composers for small jazz ensemble since Charles Mingus.
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Saturday night’s advertised performers paid robust homage to the late Gary Smith — the Fort Apache Studios owner, producer, and band manager — across three and a half hours at the Somerville Theatre.
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The Disco Biscuits are playing champion-level shows following a period of rebuilding and recalibrating that brought the band out of semi-retirement.
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The notion that columnists like Breslin were “deadline artists” is apt. Their task was to come up with a story idea, track it down, then give it a narrative spark, all ahead of a ticking clock as the drop-deadline for the next edition loomed.
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Guitarist Julian Lage wants his music to have a certain paradoxical lightness: to be “reckless and durable” at the same time.
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Much-loved short works by Pergolesi and Mozart storm the stage, thanks to spiffy French dialogue between the musical numbers.
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Professor Crowl’s attachments to both Shakespeare’s plays and the play of the Detroit Tigers are sincere and durable.
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“Auschwitz: Not Long Ago. Not Far Away.” is compelling, but its message feels hermetically sealed — the exhibit needs to draw crucial connections with what is going on now.
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