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Rock Concert Review: Elvis Costello — Proudly Flaunting his Dependability and Unpredictability

March 10, 2023
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Elvis Costello loves to visit various regions of the past but wouldn’t dare move to any of them permanently.

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Classical Concert Review: The Boston Symphony Orchestra Plays Davis, Dawson, and Bonds

March 10, 2023
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While balancing the scales of justice can be difficult work, the effort is an important act of generosity, even love.

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Television Review: “History of the World, Part II” — D Grade “History”

March 10, 2023
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Hulu’s History of the World, Part II — the damn thing isn’t funny.

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Book Review: “Dave Brubeck and the Performance of Whiteness” — No Way Out?

March 10, 2023
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Dave Brubeck and the Performance of Whiteness has scholarly value but, given its diminution of human agency, it will not significantly impact real life public conversations about ending white privilege and dealing with the complexities of cultural appropriation.

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Visual Arts Review: Is There a Boston Art?

March 10, 2023
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Arnold Trachtman, Isabelle Higgins, and Barbara Ishikura are all “Boston Modern” artists who never stray far from communicating all-too-human joys and worries.

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Book Review: “Epic Annette” — What is Heroism?

March 10, 2023
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Surely the selfless subject of Anne Weber’s Epic Annette qualifies beyond doubt as a true heroine of the twentieth century?

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Book Feature: An Excerpt From Roberta Silman’s “Summer Lightning”

March 9, 2023
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As Spring approaches, a treat. An excerpt from Summer Lightning, the latest novel by Arts Fuse critic Roberta Silman. It is a book that attempts to convey happiness.

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WATCH CLOSELY: “Red Rose” is Teen Social Media Horror

March 9, 2023
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Technology-driven horror narratives are ubiquitous these days: Red Rose has an authentic look that makes its creepiness distressingly plausible.

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Weekly Feature: Poetry at The Arts Fuse

March 9, 2023
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Here’s this week’s poem, “Time” by Nicole Callihan.

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Classic Music Album: Quatuor Diotima — György Ligeti’s “Metamorphosis”

March 8, 2023
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Quatuor Diotima evince a thorough command of György Ligeti’s style, as well as a breathtaking grasp of the demands he makes on the instruments.

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