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Film Review: A Rundown from the San Sebastian International Film Festival

October 2, 2019
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How is this festival kept off the map from my US colleagues?

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Dance Review: “Giselle” Now — at the Boston Ballet

October 1, 2019
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The performance I saw on Friday night revealed Boston Ballet’s priorities: while the dancers possess a high degree of technical skills, they have a looser notion of nuanced acting.

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Theater Review: Asian Delights from Yukio Mishima and Tennessee Williams

October 1, 2019
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Kudos for two short plays by Tennessee Williams and Yukio Mishma at this year’s Provincetown Tennessee Williams Theater Festival

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Jazz Review and Perspective: Stan Getz (and Everyone Else) in 1961 – “Getz at the Gate”

October 1, 2019
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Saxophonist Stan Getz knew whom to listen to and whom to borrow from, and the repertoire for the 1961 Village Gate gig was particularly satisfying.

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Television Review: “The Family” — Ruthlessness and Christian Piety

October 1, 2019
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The documentary sees The Family as really just a huge, secretive, and well-funded lobbying firm: separating church and state is for losers.

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Theater Review: “Tiny Beautiful Things” — A Little Anonymity Can Bring Us Closer Together

September 30, 2019
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At its best, Tiny Beautiful Things delves deep into demanding emotional territory without becoming sappy or maudlin.

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Author Interview: Will Birch Talks about Nick Lowe — Singer, Songwriter, Producer, Bassist, and Cult Figure

September 30, 2019
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Will Birch’s biography Cruel to Be Kind effortlessly details the six decade career of rocker Nick Lowe.

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Film Reconsideration: The Beats’s “Pull My Daisy” at 60

September 29, 2019
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You can go home again, daddy-o, but you’re not the same person you were the first time around.

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Arts Remembrance: Robert Hunter, Lyricist for the Grateful Dead

September 29, 2019
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Robert Hunter did as much to shape the sound and influence of the Grateful Dead as guitarist Jerry Garcia did.

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Book Feature: Jake Brennan’s “Disgraceland” — A Wicked Exposé of Popular Music’s Psychopaths

September 28, 2019
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Jake Brennan’s unique blend of humor and horror generates very entertaining stories about some of the most shocking crimes committed by various icons of rock, pop, and punk music.

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