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Many of the qualities that mark Penderecki’s best work – exquisite technique, an innate feel for rhythmic athleticism, an ear for dazzling colors and theatrical gestures, an impeccable sense of musical structure, and the affinity for emotional immediacy – are also hallmarks of Rouse’s.
Shakespeare’s role in American history is not immediately apparent — at least it wasn’t to me. Part of the considerable pleasure of reading this book is seeing how James Shapiro draws the connections.
I’d have to give the edge to Dave Liebman in terms of innovative creative reach. But Lakecia Benjamin more than holds her own in how she gives re-vitalizing attention to some very important musical roots.
Childish Gambino is hamstrung by ambition, but 3.15.20 still contains a bevy of enjoyable songs, including one or two tracks that brush against brilliance.
August is funny in a way — over time its small scale rhythms and monosyllabic reactions generate a comforting beauty that settles in.
The pace of this superb mini-series is keyed to generating intimacy with the characters and their struggles.
When I think of Bill Withers I think of just three handclaps. It’s my favorite example in his music, or just about anyone else’s, of the power of restraint — not slamming and flailing about to shift a groove into overdrive.
Musicians Aaron Halford and Matty Michna describe their journeys to Boston and ponders their futures beyond The Hub.
What’s so appealing about Tiger King? Perhaps it is that the lurid goings-on are so distinctively American.
Bob Dylan’s new song not only articulates the madness that undermines the American experience, but supplies a certain kind of corrective, a tonic, for that kind of insanity.
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