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Laurie Sargent and Billy Conway found their sanctuary under the big sky of rural Montana, and their art echoes the genuine nature of their lives, shared across the miles with their Boston base.
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Never Have I Ever suffers from an identity crisis: the show doesn’t want to face that it is just another Netflix teen comedy, albeit with its share of engaging moments.
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Like Nina Antonia and Robert Clark, Mark Doty deftly interweaves personal narrative with his literary concerns.
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“We believe the way to move through these times is 6 feet apart and ALL TOGETHER.”
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Few contemporary authors much care to tussle with the proverbial mot juste; Lance Olsen insists on it, and over the course of fifteen novels, five books of nonfiction, and five short story collections, has shown himself a master of prose style.
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It amazed me that Lee Konitz in his nineties could still find his way through a maze of changes, chorus after chorus, and at the same time be capable of weaving a beautiful, unscripted melody while producing a sound so wide, one could crawl into it.
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An admiration for certain defeat permeates much of The Mountain Goats’ album Songs for Pierre Chuvin.
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Nate Patrin’s magnificently written and wildly informative new book argues for the artistry of sampling, its potential for beauty.
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The cumulative message of these heavy metal bands might be: “I see your pandemic, and I raise you one.”
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Classical Music Commentary: The Boston Symphony Orchestra’s 2020-21 Season Announcement
If ever there was a season the BSO needed to put its right foot forward — balancing the core repertory with some strong steps outside of it — this is the one.
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